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The purpose of the article is to examine modern projects in the field of choreography, interconnected with art museums that open doors for choreographers and together embody creative ideas. It is this creative, largely subjective, controversial dialogue between the museum and dance, accompanied by comments of art historians, choreographers, and artists, that gets its meaning in the presented material. The novelty of the study lies in assessing the main directions of choreographic activity, which can be mutually transformed so that the museum and dance function successfully in modern conditions and build a new communicative space with the audience. Through a creative analysis of the modern experience of dance practices, it is possible to discover the principles and trends that are destined to breathe new life into the museum space. The considered examples of organising a museum space with theatrical and plastic direction interacting with it clearly demonstrate that modern visual strategies, associated primarily with its interactive substance, affect the communicative and exhibition space of the museum in different ways. A choreographic performance was analysed as part of a diverse event taking place on the territory of the cultural and historical museum complex; inclusion of dance in the dynamics of the halls of the interior spaces of the museum; entry of a choreographic performance, theatrical actions into the exhibition space of expositions; the museum itself inviting artists, choreographic schools and studios to conduct regular classes and masterclasses within the walls of the museum to popularise its collections, and other examples of forms of interaction between the art of dance and the art museum.

The principles of using light in choreographic performances are the basis of image perception integrity. The novelty of the study is determined by the fact that the illumination as a component of the performance can be based not only on the physical laws of light, but also on its imitation. To look into the matter of illumination, the authors consider it necessary to use a polygonal model, which can also form a spatial picture if necessary. The paper defines the general illumination model, which uses ray tracing technology and allows to determine the structure of lighting in the hall and to distribute the light to understand the director's intention among the entire visual sector. The practical significance of the study is determined by the structure of using lighting as part of staging choreography in the postmodern genre.

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The article analyses the structure of personality self-esteem of representatives of art professions. As an object of the art profession, this research considers the choreographer profession. A feature of the choreographic artist's profession is the directivity on the plastic expression of a given artistic image. This research analyses the process of self-determination of a creative individual in the process of becoming a future professional. The novelty of the research is that choreography is understood not as an innate characteristic of a person, but as an acquired quality. In this research, the researcher shows the methodological techniques, functions and general parameters of the model, which can contribute to the disclosure of creative initiative on the part of the representative of the creative profession. The researchers considered a professional environment that allows the formation of professional qualities in an individual who is in a creative search. A correlation model is presented, which allows speaking about the readiness of an individual for professional selfrealisation.

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The author considers historical trends in the development of project technologies in the arts. Various project and artistic solutions are analysed with the focus on various historical periods and styles, from the Ancient East to the Modern Age. An emphasis is placed on the era itself, which required a new approach to the organisation of theatrical enterprises and the performance production principles. The article also reveals the specifics of projects as a type of the human creative activity and defines the role of the project method as a system of unique and clearly defined actions aimed at obtaining specific results in a multifunctional environment within a specified period and within the allocated resources. The author shows that they are characterised by a deep mutual integration of the artistic and creative principle and the development of information technologies. The article contains various examples of the implementation of projects from the beginning of civilisation up to the twentieth century when art management appears as a form of arrangement of the theatrical business, and a combined company becomes possible. The author emphasises the role of the Russian Seasons by S. P. Diaghilev in creating conditions for the development of unique professional and artistic experience in Russia and other countries. Development of special knowledge and dialectics of research of project strategies in the twentieth century imply increasing importance of knowledge derived from the historical past, which can improve the competitiveness of performances, as well as of other creative works in the contemporary art market.

The article is devoted to the study of outdoor performative practices of modern theatre. The author substantiates the relevance and significance of the topic of the research determined by the mobile development of modern theatre, which is one of the most important types of contemporary art; a theatre performance is a complex interdisciplinary product, subject to modifications, and which does not receive the final form. The purpose of the study is to identify and analyse the main types of theatre performance, developed in the 20th century in the context of new methods and principles of theatre directing, which extend the idea of modern theatrical performance. The main method of research is an interdisciplinary comparative analysis. It defines a special role for the character - performer and the audience; it is characterised by an epatage conception, the complexity of the media - elements included in the action; it forms a productive audience involved in the action. The historical component of performance - the first practice, its formation as an independent direction, is considered; the most outstanding performances of the last century are indicated. Modern theatrical performances are studied. One of their features is holding the event outside the main theatrical premises, allowing the viewer to fully and newly immerse themselves in the theatrical "process" through innovative digital technologies, which are now used everywhere. Another feature is the exit of the narrative method from the traditional textbook format. The author notes that the human body has remained the main expressive means of performance, bringing it closer to the choreographic art, which, like dance, is often devoid of words. Gaining the status of a theatrical form in the 70s, performance goes to a higher level of scenario with a more well-designed structure. However, the peculiarity of performance is its eclectic and experimental character. It easily fits into the multimedia format of Internet platforms. It is concluded that throughout its development, performance as a type of theatrical performance, required a new type of dramaturgical and directorial thinking from the authors-creators. It is argued that the new cultural product offered to the modern viewer gives the recipient (viewer) the opportunity to look at theatrical art from a different angle. Thus, the initiators of such projects manage to "hook" the viewer's attention to this product.