The aim of the article is to highlight the features of the development of choreographic education at the beginning of the XXI century on the example of educational institutions of Great Britain and the United States, which train students in "Choreography" specialties. Methods: analysis, synthesis, induction, deduction, observation, description, tabular and graphical representation, comparison, systematization, questionnaire survey, hypothesis, abstraction and generalization. It was established that the development of choreographic education in the beginning of the XXI century is characterized by an annual increase in the number of students being trained as choreographers, choreographic education support by the universities, positive changes after the introduction of support measures for the development of choreographic education, increase in the level of encouragement for students to study the profession of choreographer, usage of modern ICT.

The purpose of the article is to reproduce a complete panorama of Lesia Ukrainka's creations on the domestic ballet stage and to reveal the peculiarities of such ballets. The research methodology is based on the methods of generalization, comparison, and systematization, with the use of a chronological approach, which made it possible to reveal a panorama of ballet masters' appeals to Lesia Ukrainka's works in historical retrospect. Scientific novelty. For the first time, a complete panorama of Lesia Ukrainka's works, interpreted by means of choreographic art on the domestic ballet stage, has been reproduced, and the specifics of the interaction between such works and ballet have been revealed. Conclusions. Lesia Ukrainka's creativity was close to the nature of the ballet theater in its poetic and ephemeral image structure, philosophical generalizations. The success of ballet interpretations often depended on how closely the ballet master imitated the dramatic structure of the works, but did not resort to illustrating or directly translating literary language into choreographic vocabulary, how creatively he interpreted the poetics of the word in choreographic images. Among the works of Lesia Ukrainka, the drama extravaganza "Forest Song" by M. Skorulskyi, first staged by S. Serhieiev in 1946, became the most popular for ballet interpretations. Despite the number of ballet masters' appeals (N. Skorulska, Ye. Khasianova, M. Trehubov, A. Pantykin, V. Kovtun, V. Lytvynov etc.), consider V. Vronskyi 's production of 1958 to be the best interpretation due to its masterful approach to the ideological and philosophical content of Lesia Ukrainka's work, its compositional and architectural integrity, the symphonization of the choreography, and the psychological persuasiveness of the images. Less popular, but quite significant for the progress of the Ukrainian ballet theater, were the performances "Lights of the Night" by L. Dychko (1967) and "The Master of the Fireplace" by V. Hubarenko (1969) (the first – based on the poem of the same name and the second – based on the drama of the same name by Lesia Ukrainka; both first staged by A. Shekera). Key words: Ukrainian ballet, Lesia Ukrainka and ballet, choreography, dance

Recently, the prevailing trend is that graduates do not work in their profession; the purpose of the article is to study ways to improve the effectiveness of social and professional self-determination of students. The authors conducted an empirical study of the causes of this phenomenon and identified the main ones (the choice was made for the student by his parents; in the process of studying, the student became disillusioned with the chosen profession; the chosen profession does not bring the necessary earnings; did not find a job in the speciality). The article noted that the percentage of work in the profession depends on how long ago the specialist graduated from the university. The authors identified what causes could be eliminated in the process of teaching students. Having analyzed the existing pedagogical methods for students' more confident social and professional self-determination, the authors proposed the conceptual foundations of pedagogical support for students' social and professional self-determination. These recommendations will make it possible to correct students' social and professional self-determination in their speciality. The authors proposed an algorithm that allows to visually and transparently determine the student's attitude to the chosen speciality and ways to persuade the student to look for a job and work in the profession and the necessary tools for this. The proposed dual approach to adjusting the socio-professional self-determination of students will allow them to identify the problem at an early stage, track it and fix it with adjustment. Research has shown that there are several main reasons why a student does not work in a profession. All these reasons, in our opinion, are subject to correction in the learning process. The main feature of success is the desire of the university to identify such students at an early stage, a developed adjustment mechanism and constant control and monitoring. A further promising direction of research is the development of questionnaires that can identify this problem and a mechanism for attracting artificial intelligence that can guide each student individually and signal when the university's intervention is necessary.

У статті розглянуто розвиток хореографічного мистецтва в умовах епохи метамодерну. Аналізуються характерні жанри, рушійні сили й тенденції розвитку хореографії метамодерну. Автор спирається на думку. що глибинною культурно-філософською основою розвитку хореографічного мистецтва є зміна картезіанської парадигми й уявлень про людську тілесність у її співвідношенні з духом та свідомістю. Автор доходить висновку, що відбувається проникнення хореографії та її поєднання з низкою життєвих практик, зокрема зі спортом, фізичною культурою та суміжними видами активності. У хореографії метамодерну однією з найхаратерніших рис є її медиатизація, коли танець стає жанром і художнім засобом медіакультури.

The purpose of the academic paper lies in establishing the components of the successful implementation of an individual approach in teaching choreography within the conditions of the pandemic; highlighting problems and ways to solve them while teaching choreography in modern university education; identifying changes in the attitude of students and teachers to the quality of training of choreographers. The research methods are based on an integrated approach, namely: descriptive methods, analysis, and synthesis, generalization has been used to analyze the theoretical fundamentals. The major method is the experiment, as well as the method of questionnaires, tabular and graphical representation; the processing of results has required the involvement of qualitative and quantitative approaches. The hypothesis lies in the fact that the forms of a practice-oriented, variable individual approach to teaching choreography, the attraction of the possibilities of digital technologies, the mode of distance education within the conditions of the pandemic leads to improving the quality of such education, implementing the factor of transparency of the teaching process, eliminating the anxiety of participants of the educational process. The result is the discovery and expansion of opportunities to improve the practice of teaching choreographic disciplines within the conditions of the pandemic.