Exploring the Experience of Contemporary Dance Practices in the Context of Global Art Choreography in the Museum Space

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.

Towards a New Architecture of Cosmic Experience

The article unfolds an account of several overlapping fields of inquiry contributing to the early modern experience of the cosmos. Traversing scale, scope, and media, from the first recorded meteorite fall to scholastic debates over the materiality of heaven and the practice of architecture as cosmic analogue, I argue in favour of bringing together a broad range of interdisciplinary source material in order to explore the spatiality of the cosmos and how it was encountered and reproduced as a place or cosmic space or non-place on earth. The accompanying examples gesture towards an open-ended model defined not solely by the built environment as much as by the ephemeral and rhetorical structures framing the cosmos for human consumption.

Organisation of Distance Learning in an International Educational Environment: Online Course «Supply Chain Finance»

The article gives a short overview of theories on didactics and distance learning used in the framework of an online course in English, given by a senior lecturer from the Netherlands (HAN) to students of the faculty of Economics of Chelyabinsk State University (CSU), to let students get experience in distance learning in an international educational environment and acquire knowledge on the topic Supply Chain Finance (SCF). The teaching material of the course was represented by six lectures recorded by J. Jansen and available online (www.principlesofsupplychainfinance.nl/scf-course/). Combination of the recorded lectures and interactive online seminars for discussion of home assignments allows students to gain a deeper understanding of the topic SCF. Finally, the course was finished with an individual online oral exam. Students and teaching staff of CSU evaluated this extra-curricular course. This pilot of distance learning will be developed into a course of a master programme at the faculty of Economics of CSU. The educational theories of Biggs, Bloom, Hattie, Garrison, Vaughan, Klabbers, Sousa and Kolb were applied to provide students with the best modern experience of distance learning.

PRINCIPLES OF FORMATION OF ENERGY EFFICIENT RESIDENTIAL BUILDINGS

The article analyzes the European and Ukrainian modern experience in designing energy efficient housing. The relevance and innovation of designing energy-efficient residential buildings and complexes, as well as its features are determined. The basic principles of designing energy efficient residential buildings are determined.

MODERN PROBLEMS OF ESTABLISHMENT OF REHABILITATION CENTERS. RETROSPECTIVE REVIEW AND EXPERIENCE OF FOREIGN COUNTRIES

Problem statement. Modern experience in designing rehabilitation facilities is very small and isrepresented mainly by mobile hospitals. The complexity and multivisibility of the considered problem indicates theneed for its further in-depth study. From the given material it is possible to draw a conclusion that architecture today isredirected to fast change of processes of clearing, the technological equipment.Purpose of the article. The article aims to solve the following tasks:− to conduct a retrospective analysis, to determine the temporary stages of formation and development of medicalinstitutions with a rehabilitation function;− to analyze domestic and foreign design experience;− identify factors influencing the formation of institutions with a rehabilitation function;− to conduct a comparative analysis of modern requirements for the design and construction of rehabilitationcenters in Europe, the United States, Russia, Ukraine, Syria.Conclusion. 1. It is established that the prerequisites for the establishment of rehabilitation centers were thefollowing: The number of disabled people is currently increasing among adults in Syria and Ukraine, as well as in mostcountries around the world, which in recent years has been developing dynamically medical systems for the treatmentof disabled people.Український журнал будівництва та архітектури, № 4 (004), 2021, ISSN (Print) 2710-0367, ISSN (Online) 2710-0375 66 2. It is determined that in the foreign approach to the rehabilitation of the disabled, special conditions are createdfor post-clinical treatment in the departments of clinics, hospitals and specialized centers. The study of foreign designexperience revealed the consistent development of the concept of creating a rehabilitation environment. It is determinedthat the block system of layout of buildings of the rehabilitation center prevails in foreign experience. The originalcorridor planning system of buildings of medical institutions, including rehabilitation centers, gave way to a neutraltype of recreational space.3. Modern experience in designing rehabilitation facilities is very limited and is represented mainly by mobilehospitals, after which, if necessary, the patient is transferred or to a military hospital, obsolete for decades of operation,to a general rehabilitation center where patients are treated for injuries.4. The complexity and multidimensionality of the problem indicates the need and feasibility of its further in-depthstudy.5. From the above we can conclude that today's architecture of ZMR is reoriented to the rapid change of processingprocesses and technological equipment. When designing complex hospital care systems, there is a desire to achievetheir maximum efficiency.6. Rehabilitation centers and hospitals are filled with various elements of infrastructure. They becomemultifunctional. Obviously, there is a tendency to turn the strict walls of hospitals into comfortable ones with complexinteriors.7. The planning structure of medical buildings is also changing. The use of corridor planning systems is decliningas they have become less convenient.8. Therefore, in order to implement the rehabilitation center and for its effective functioning in Ukraine, it isnecessary: at the legislative and practical levels to create rehabilitation departments in all hospitals, where highlyspecialized and formed rehabilitation teams will work; to translate the training of rehabilitation specialists into thehealth care system, as is the case, at least in the United States and European countries. In addition, there must befinancial support for the reform from the state.

Embodying Voice: Singing Verdi, singing Wagner

<p>Writers from diverse disciplines have rhapsodised over the impact of the operatic voice on the listener, while musicologists such as Abbate, Duncan, and Risi have explored the effect that concepts of voice and bodily engagement have had on our critical readings of opera. Yet although perspectives on performance have become an increasingly vital aspect of operatic criticism, no one has laid out how opera singers experience performance in relation to the ideas of embodiment that scholars write about. The discourse on embodiment and voice is theoretical; most discussions of female voice can be mapped on to any historical period and on to any voice, so that all voices end up being treated the same; paradoxically, in addition it is a discourse that largely omits the body. Indeed, the complexity of connecting many different layers of mind and bodily engagement, that is, the embodiment, is a task that requires detailed and specialised training. Without attempting to speak for all singers at all times, I propose that by acknowledging that different singers achieve and think about particular elements of embodiment in different ways, we can start to come to terms with an individual singer’s creative agency, as a co-creator of the composer’s music. In this dissertation I outline key characteristics of the type of embodied voice that has become the basis of operatic singing today, how that operatic voice is produced in performance, and the importance of the singer’s own bodily engagement in making that sound and constituting the performance itself. By juxtaposing operatic criticism and readings of voice and vocality with an interrogation of my own physical engagement in singing a few particular roles (as a singer specialising in nineteenth and twentieth-century operatic repertoire), I demonstrate how a singer “creates” roles. My detailed analyses illustrate how a singer’s fully conscious bodily engagement, in and through the breath, is inextricably linked with musical and dramatic interpretation, and sets up the vocal spectacle and embodied agency so central to our modern experience of opera. Moreover, in the context of specific readings of particular operatic roles, I argue that particular composers set up specific ways in which singers manipulate elements of body and mind – so that the score can influence and even control how a singer can or cannot breathe. As I will demonstrate in detailed studies of four roles by Verdi and Wagner (all of which I have sung in performance), some scores set up an almost physical collaboration between the singer herself and the way in which text, breath and music are shaped and moulded in performance by particular features of the vocal writing. While a large number of roles could be explored in those terms, the demands placed upon body and voice are individual and each role of every opera is always distinct; Verdi and Wagner roles provide particularly valuable examples because of the complex intersection between a rich psychological framework for interpretative engagement and a complex vocal and bodily collaboration. In addition, my focus on a particular timeframe in the historical development of vocal practice suggests fascinating correlations with the case studies I discuss from Il trovatore, Die Walküre and Parsifal. The new type of singer developing the skills and voice to sing these roles predicates today’s vocal and stage practices that in turn have influenced my own experience. Offering an in-depth examination of the complex tasks an opera singer undertakes, I also examine differences in the vocality in singing Wagner and Verdi roles, culminating in a detailed exposition of my chosen roles. This dissertation, therefore, sets up a complex picture of the ways in which vocal performance is constructed and controlled by Verdi and Wagner, on the one hand, and how particular scores also set up the conditions that allow singers in these texts to unleash their voice to achieve “wildness” and expression that lies beyond the text. Through these case studies, I establish a discourse of vocality that allows detailed readings of aspects of vocal performance that seemingly bypass rational communication. In the end, I build a case for understanding how singers’ embodiment contributes to the creativity of the performance in ways hitherto intuited but not analysed. Thus I offer a counterbalance and reinterpretation of traditional perspectives on the reality of performance, addressing singers and scholars alike.</p>

Embodying Voice: Singing Verdi, singing Wagner

<p>Writers from diverse disciplines have rhapsodised over the impact of the operatic voice on the listener, while musicologists such as Abbate, Duncan, and Risi have explored the effect that concepts of voice and bodily engagement have had on our critical readings of opera. Yet although perspectives on performance have become an increasingly vital aspect of operatic criticism, no one has laid out how opera singers experience performance in relation to the ideas of embodiment that scholars write about. The discourse on embodiment and voice is theoretical; most discussions of female voice can be mapped on to any historical period and on to any voice, so that all voices end up being treated the same; paradoxically, in addition it is a discourse that largely omits the body. Indeed, the complexity of connecting many different layers of mind and bodily engagement, that is, the embodiment, is a task that requires detailed and specialised training. Without attempting to speak for all singers at all times, I propose that by acknowledging that different singers achieve and think about particular elements of embodiment in different ways, we can start to come to terms with an individual singer’s creative agency, as a co-creator of the composer’s music. In this dissertation I outline key characteristics of the type of embodied voice that has become the basis of operatic singing today, how that operatic voice is produced in performance, and the importance of the singer’s own bodily engagement in making that sound and constituting the performance itself. By juxtaposing operatic criticism and readings of voice and vocality with an interrogation of my own physical engagement in singing a few particular roles (as a singer specialising in nineteenth and twentieth-century operatic repertoire), I demonstrate how a singer “creates” roles. My detailed analyses illustrate how a singer’s fully conscious bodily engagement, in and through the breath, is inextricably linked with musical and dramatic interpretation, and sets up the vocal spectacle and embodied agency so central to our modern experience of opera. Moreover, in the context of specific readings of particular operatic roles, I argue that particular composers set up specific ways in which singers manipulate elements of body and mind – so that the score can influence and even control how a singer can or cannot breathe. As I will demonstrate in detailed studies of four roles by Verdi and Wagner (all of which I have sung in performance), some scores set up an almost physical collaboration between the singer herself and the way in which text, breath and music are shaped and moulded in performance by particular features of the vocal writing. While a large number of roles could be explored in those terms, the demands placed upon body and voice are individual and each role of every opera is always distinct; Verdi and Wagner roles provide particularly valuable examples because of the complex intersection between a rich psychological framework for interpretative engagement and a complex vocal and bodily collaboration. In addition, my focus on a particular timeframe in the historical development of vocal practice suggests fascinating correlations with the case studies I discuss from Il trovatore, Die Walküre and Parsifal. The new type of singer developing the skills and voice to sing these roles predicates today’s vocal and stage practices that in turn have influenced my own experience. Offering an in-depth examination of the complex tasks an opera singer undertakes, I also examine differences in the vocality in singing Wagner and Verdi roles, culminating in a detailed exposition of my chosen roles. This dissertation, therefore, sets up a complex picture of the ways in which vocal performance is constructed and controlled by Verdi and Wagner, on the one hand, and how particular scores also set up the conditions that allow singers in these texts to unleash their voice to achieve “wildness” and expression that lies beyond the text. Through these case studies, I establish a discourse of vocality that allows detailed readings of aspects of vocal performance that seemingly bypass rational communication. In the end, I build a case for understanding how singers’ embodiment contributes to the creativity of the performance in ways hitherto intuited but not analysed. Thus I offer a counterbalance and reinterpretation of traditional perspectives on the reality of performance, addressing singers and scholars alike.</p>

ORGANIZATIONAL FEATURES OF THE FUNCTIONAL AND PLANNING STRUCTURE OF SERVICE AREAS IN SMALL HOTELS

Nowadays, small hotels are the most popular and intensively developing sector of the hotel industry. The modern typology of small hotels has significantly expanded and it includes new types of focus at a specific target segment of consumers. Customer focus is the most characteristic feature of small hotels and it is reflected in the organizational features of the functional and planning structure of the service areas in small hotels. The article is devoted to the discusses of the main and additional functional areas of small hotels (service part) based on the analysis of modern experience in the design and construction of small hotels, as well as the analysis of regulatory documents and scientific work on the design of this type of facilities. The main variants of functional schemes of the reception and lobby area, public catering area, consumer service and trade area, cultural and leisure, business, fitness and recreation, administrative and production areas, and areas for servicing cars (only for motels) are given. Conclusions are drawn about the direct relationship between the form of organization of the functional and planning structure of the service areas of small hotels with their specialization. It is concluded that the presence and composition of various functional areas of small hotels is always determined by a combination of the following external factors: type of hotel, location, level of comfort, contingent of guests. The tendency of consolidation and unification of separate functional zones of small hotels for maximum optimization of their space is revealed.

Modern Experience of Lobbying Interests in Europe

The current experience of lobbying interests in Europe requires a detailed study of legislation to provide open public access to the Transparency Register and to promote the use of lobbying transparency mechanisms in European countries and EU institutions. These mechanisms ensure the implementation of relevant regulations and political decisions by political actors with the assistance of interest groups for the effective implementation of public policy. The purpose of the study is to establish the patterns of implementation of interest lobbying policy in Europe and assessing the reliability of lobbying activities in European countries and EU institutions to check the effectiveness of lobbying interests’ modern experience in Europe and mechanisms in ensuring transparency and its integrity in the EU. Research methods: comparative analysis; regression analysis; systematization, generalization. Results. Availability has established the relationship between disclosure by lobbyists and oversight of compliance with the rules of the register and transparency in lobbying. Lobby transparency has been identified as too weak across Europe, as the implementation of the Transparency Register, which aims to regulate lobbying, has not protected against its excessive influence. The largest expenditure on EU lobbying for the period 2017-2018 falls on countries such as Belgium, Germany, and Italy. The current expenditure of EU member states is 91%, more than €2 billion. It was found that lobbying in Europe helps to solve current problems by further improving the legislation that will ensure the implementation of effective EU policy, where the main topics on the agenda are the implementation of the Law on Digital Services and overcoming the COVID-19 pandemic. It has been established that lobbying in Europe should address barriers to access to public sector information and public data faced by citizens, and require the implementation of measures to regulate the further activities of officials between the public sector and lobbying.