The initial norm of performability/acceptability is usually at the back of the minds of play translators. This study is specifically conducted on Samuel Barclay Beckett’s self-translated play, “Waiting for Godot”. The play was written by Samuel Beckett in French, and then he translated it into English. It is argued herein that the availability of two source texts has led to the phenomenon of using two source texts of the same play, occasionally and momentarily, to produce an Arabic translation. The study argues that third-language translators commit these shifts in order to avoid rendering unperformable absurd ideas and structures. The study specifies the Absurd elements that trigger the shifts and explores the feasibility of the employment of source-text shifts in the preservation of some of the themes of the Absurd theatre. It is proven that in many instances, these shifts lead to changing the source-text themes. For this purpose, the study compares two Arabic translations of the work. The source text for the Arabic target text by Azher Saleh is the English self-translation, while that for the Arabic target text by Paul Shaoul is the French original.