Les phénomènes interfaciaux impliqués dans les écoulements polyphasiques existent dans de nombreux procédés industriels. Des gouttes et des bulles sont des éléments typiques pour comprendre les phénomènes interfaciaux. Ainsi, cette thèse étudie les gouttes (bulles) impliquées dans la manipulation d’une interface, y compris la rupture de l'interface, le mouvement d’une goutte sur une surface superhydrophobe et le contact sur un support solide à l’aide d’un système d'acquisition pour des signaux électriques. Dans la première partie, une caméra rapide est utilisée pour étudier la dynamique de pincement des fluides homogènes et des ferrrofluides hétérogènes à travers des systèmes confinés et non-confinés liquide-liquide ou liquide-gaz. L'effet de compétition entre les différentes forces telles que la poussée d’Archimède, la force magnétique, la gravité et la tension interfaciale sur la rupture finale d’un fluide interne dans un environnement fluide externe est démontré et quantifié. La deuxième partie est consacrée à la manipulation d’une goutte aqueuse à l’aide d’une interface superhydrophobe sous deux angles distincts : saut d’obstacle de la goutte sur une surface solide revêtue d’une couche superhydrophobe ; déshabillement d’une goutte enveloppée de particules superhydrophobes dite "marbre liquide" sur un film huileux. Le comportement dynamique du saut d’obstacle et du déshabillement des gouttes est quantifié et comparé dans des conditions opératoires très différentes telles que la viscosité, la tension interfaciale, la géométrie d’obstacle, etc. La troisième partie est dévolue au contact d’une goutte sur un support solide: contact initial, étalement, et pincement final des fluides tant newtoniens que non newtoniens, grâce à une méthodologie combinant la caméra rapide et un système d'acquisition ultra-rapide d’un signal électrique / The interfacial phenomena in multiphase flows widely exist in numerous industrial processes. Drops and bubbles are typical models to investigate these interfacial phenomena. Thus this thesis investigates the drop (bubble) involved interface manipulation, including the breakup of interface, drop’s motion on superhydrophobic surface and Dripping-on-Substrate with an acquisition system of electric signals. In the first part, the pinch-off dynamics of homogenous fluids and heterogeneous ferrrofluids, unconfined liquid-liquid (liquid-gas) or confined liquid-liquid systems was investigated by a high-speed camera. The effect of buoyancy, magnetic force, gravity and interface tension between internal and external fluids on the final pinch-off was demonstrated and quantified. The second part focuses on the drop manipulation on superhydrophobic interface through two distinct approaches: superhydrophobic coating on a substrate and superhydrophobic particles enveloping a liquid drop to form “liquid marble”. The hurdling behavior of liquid drops on superhydrophobic obstacles and undressing dynamics of liquid marbles on oil films were discussed and the slope motion of liquid drops and liquid marbles were then compared. The third part concentrates on the Dripping-on- Substrate behavior: initial contact and spreading on a solid surface, final pinch-off of Newtonian fluids and filament thinning of non-Newtonian fluids, through a methodology combining the high-speed camera and ultra-high-speed acquisition device of an electric signal

This thesis explores solo performance in New Zealand. That solo performance has been widely used in New Zealand's relatively brief theatre history is usually ascribed to the economy, manoeuvrability and adaptability of the form - common reasons for the popularity of solo performance elsewhere as well. But this thesis considers solo performance as a kind of theatre that has been suited to New Zealand in a distinctive way. In particular, I argue that solo performance has emerged on the margins of mainstream theatre in New Zealand as a means of actively engaging with a sense of isolation that typifies the post-colonial New Zealand experience. The ability of the solo performance to move between remote rural settlements and urban centres has connected these New Zealand communities in a way that is unusual for theatre in New Zealand. Furthermore, a solo performer speaking directly to an audience about the experience of living in New Zealand allows for an intimate interaction with a traditionally stoic and laconic masculine society. In this thesis, I make a case for three solo performances where it is possible to see, in the representation of a search for what it means to be a New Zealander, a theatrical contribution to nation-building: The End of the Golden Weather (1959), Coaltown Blues (1984) and Michael James Manaia (1991). However, in a subsequent chapter, I look at solo performances in New Zealand that might better be understood within global movements such as feminism and multiculturalism. I argue that this shift has depleted the power that the form once held to comment upon New Zealand identity and to assist in the search for national identity. I conclude the thesis by considering how ongoing theatre practice may be informed by the experience of solo performance in New Zealand.