Dabarties Lietuvoje vykstant švietimo reformai, mokytojų rengimas, kvalifikacijos tobulinimas ir perkvalifikavimas yra vienas iš svarbiausių uždavinių. Šiandieniniam mokytojui tobulėjimui nėra ribų, tobulintis gali kvalifikacijos tobulinimo kursuose, seminaruose, užsienio stažuotėse, tęstinėse studijose ir aišku, persikvalifikuojant. Pedagogų perkvalifikavimas yra viena iš kvalifikacijos tobulinimo krypčių. Perkvalifikavimas suteikia galimybę įgyti papildomą profesiją, tobulinti įgytus gebėjimus tuo pat metu juos jungti su naujai gautomis žiniomis, dalytis pedagogine patirtimi su kolegomis bei siekti aukštesnės kvalifikacijos. Perkvalifikavimas suvokiamas kaip papildomas mokymasis, per kurį, mokytojas gali įgyti naują diplomą ir pakeisti kryptį profesijos viduje. Tyrimu siekta nustatyti, kaip vyksta mokytojų perkvalifikavimas, kokia yra mokytojų perkvalifikavimo patirtis, išryškinti mokyklos vadovo vaidmenį persikvalifikuojant. Siekta išsiaiškinti, kodėl mokytojai persikvalifikuoja, ar vertina perkvalifikavimo studijas, kaip jų profesinės veiklos sudedamąją dalį, koks jų po��iūris į nuolatinį mokymąsi ir kaip tobulina savo kvalifikaciją, kiek perkvalifikavimas atitinka mokytojų poreikius ir valstybinę švietimo strategiją. / In present Lithuania in pursuance of the reform of education teachers training, in- service training, re-skilling is one of the biggest tasks. A modern-day teacher can improve himself in many ways: clinic, seminars, foreign probationary, continual study or re-skilling. Schoolmasters re-skilling is a trend of the qualification in-service training. Re-skilling gives an opportunity to get a new profession, improve acquired abilities, link them with new knowledge, interchange pedagogical experience and seek the superior qualification. Re-skilling is an additional learning, it is the way of getting a new diploma and changing a direction inside profession. The main intention of the research was to estimate the experience in re-skilling teachers and to ascertain the school head’s role in this process. It’s important to find out why do teachers retrain, do they value retrain study as a component of their work, what is their attitude towards permanent learning, how do they improve their qualification and does re-killing conforms to the teachers demands at the strategy of national education.

The thesis examines challenges museum curators face when outsourced performers – whose role it is to embody the work of other artists – are included in exhibition projects. The research questions are: What are the practical, juridical and ethical challenges that come with situating outsourced performance labour in the museum setting? What does the inclusion of live performance in exhibition projects mean for the role of the museum curator? Two exhibition cases in Stockholm are studied in the thesis: Marina Abramović – The Cleaner (2017) at Moderna Museet and Dora García, I Always Tell the Truth at Bonniers Konsthall (2018–19). The material consists of digital surveys that were sent out to employed performers from each exhibition case as well as interviews that were conducted with both performers and curatorial staff. The material was examined using theories on affective labour and the theoretical notion of de-skilling and re-skilling of acquired competences.  The thesis shows that the practical challenges include the architectural conditions of museum buildings, insufficient prior knowledge on what working with performers entail, short project timespans and limited exhibition budgets. The juridical challenges include a lack of union recommendations for performance in museums and the difficulty of situating reperformances of historical works that in its form and duration may go against national labour regulations. The ethical challenges include commodification of performers’ subjectivity through instances of affective labour and mechanisms of objectification. In turn, both the outsourced performer and the museum curator turned performance curator inhabits a precarious working situation. The role of the performance curator is highly administrational and organisationally tedious in its positioning between curatorship, performing arts production and human resource management. Additionally, it entails a prodigious amount of affective labour in the reproductive mode – of emotional investments, conflict resolution and social liaison.