Purpose of the article is to outline “actual” artwork’s perception problems after the example of Oscar Wilde “Salome” literary and stage history in 1890 – 1900ths, using as a historical-&-culturology studies’ objectification mechanism basic theses of Jose Ortega y Gasset “dehumanization of art” panmodernistic theory. The methodology presupposed multidiscipline approach –– simultaneous implementing of the sociological and historical-&-culturology methods with the elements of the hermeneutics and structural analytics. The scientific novelty of the study means that for the first time stage interpretations of the early European Modern emblematic play have been analyzed, leaning for the basic principles of the panmodernistic theory, hitherto popular in the worldwide culturology and fine arts research quarters. Conclusions. “Actual” artwork’s perception by the literary-&-stage product consumer is an important part of each epoch historical segment of the dramatic-&-theatre discourse. The dramatic destiny of Oscar Wilde one-act tragedy “Salome” and its interpretations in the European theaters of the late 19th – early 20th century helped to display the main point of the problem –– the contradiction between the realistic-&-romantic art, preferred by the audiences and art critics of those days, to early modernistic creative works, needed another communicative format for its adequate perception. Step-by-step, but evident changes of the esthetic paradigms and artistic systems, characterizing the Ukrainian theatre process from 1990ths, actualize the extrapolation of the designated problematics to the nowadays theatrical reality.