On January 22, 2020, in Davos, the World Economic Forum launched Reskilling Revolution, a multistakeholder initiative aimed at providing better education, new skills, and better jobs for a billion people worldwide by 2030, so questions about improving the quality of education by introducing dual distance education and retraining of personnel at enterprises are becoming more and more relevant. In the course of the study, the authors analyzed the current problems of universities and enterprises, which allowed them to propose the creation of a smart cluster. The authors demonstrated the interaction of cluster participants using the example of education. The study showed that it is with such a tool that it is possible to solve the current problems of the participants, and in general, to improve the quality of education, the well-being of the region and, as a result, when scaling up, the well-being of the country and its image and culture on the world stage. The study showed that only through joint efforts and cooperation between universities, employers, research institutes and the state, it is possible not only to improve the quality of education but also to provide enterprises with a qualified workforce on a permanent rotation basis than to increase the competitiveness of business. This will allow research institutes and universities to raise funding, which can be directed not only to maintaining the current state but also to the development and introduction of resource-saving technologies, which we see as further research methods.

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 study of this article was to quantitatively analyze the relationship between the introductions of innovative teaching methods and improve the pedagogical skills of teachers. The research methodology is based on a comparative analysis of scientific research to determine changes in the globalization index in education and identify innovation links in terms of ten European countries during 2015-2019 based on data from The Global Innovation Index (2020) and Eurostat (2020). As a result, the relationship between education and innovation and its integration into the educational process on the example of ten European countries during 2015-2019. The factors determining the innovative activity of the country are established: availability and access to information and communication technologies, global research and development companies, knowledge creation, financial investments in education, innovative relationships, creation of mobile applications, etc. The practical value is in the possibility of implementing the results in national strategies for the introduction of innovative methods in improving the pedagogical skills of teachers.

The study is devoted to the preservation and reconstruction of the author's choreography at the present stage of development of performing arts. On the example of the creative heritage of the leading Ukrainian choreographer, the founder of the national stage folk dance Vasyl Avramenko, an attempt was made to analyze the peculiarities of modern choreographers' treatment of famous Ukrainian folk stage dances of the first half of the twentieth century.The study found that: in the process of working on folk-stage dance or dance composition, the author of the choreographic text of which is V. Avramenko, it becomes important to focus on artistic qualities that defined V. Avramenko's productions, in particular, emotional tension and the desire to reflect human characters. the context of the historical period, the choreographic poeticization of the figurative side of national patriotism, the use of dramatization as the dominant means, etc .; appeal to V. Avramenko's choreographic heritage of modern choreographers promotes the expression of ethnic identity; the most expedient strategies for processing folk-stage dance or choreographic composition, the author of the choreographic text of which is V. Avramenko, it is expedient to consider the reproduction of the author's production and adaptation to the level of technical training of dancers

The purpose of the article is to identify the specifics of the use of clichéd expressive means in the process of creating a production of modern choreography and to determine the ways to get rid of clichés in the context of philosophical and worldview types of choreographic life. Methodology. In order to identify the peculiarities of the use of clichéd means of expression in the performances of modern dance, the typological method, the method of structural-semantic and textual analysis was applied. Scientific novelty. The problem of the use of clichéd expressive means by choreographers-directors of modern dance is investigated; the features of the use of clichéd forms of visual expressiveness are considered on the basis of modern choreography productions; based on the analysis of the theoretical works of the leading choreographers of the 20th century. the approaches to avoiding the use of clichés in the process of staging modern dance have been identified. Conclusions. Certain lexical elements of modern dance, compositional features, and visual means of expressiveness of choreographic performances in their own semantics are clichéd, since, as a result of the frequent use of choreographers-directors (usually due to positioning as necessary elements of the text of the choreographic performance, which provide an easy and accurate way of transmitting the encoded information) have lost their imagery, and their semantic content has gradually decreased. In contemporary dance productions, the cliché is a kind of sign of the choreographic text, which has its own conceptual content and structurally organized form, providing a certain meaning to the concept placed in this cliché. This meaning can be interpreted as an element of the semantic system, the internal structure of which is associated with its relationship with other elements of this structure and reflect the system of connections and relationships between objects and phenomena of reality existing outside a separate sign in the form of a converted form of this objective content, which largely depends on the projected on the iconic image created by the choreographer of the viewer's social experience. The meaning of the choreographic cliché is considered as a result of the process of determination, when a “psychic image” appears in the viewer's mind, the presence of which is manifested through a visual signification and is fixed in the signs of the dance text. Changes in the content of the cliché as a sign (its meaning) create differences of an individual and social nature, reflecting the choreographer's ideas about the surrounding reality. The choreographer-director of contemporary dance comprehends and rethinks life in accordance with his own philosophical and worldview principles, revealing life concepts that are closer to a paradox and distant from the established logic. Seeing life as a force, the choreographer constantly strives for awakening in order to free himself from disciplinary individualizations.