Alexandre Le Petit is the founder of the company versonatura, through which he produces and diffuses his work. A self-taught musician/drummer, Alexandre formed several improvisation collectives during the 1990s whose self-produced creations evolved between free jazz, industrial music and rock' N roll. During his studies within the department of performing arts of the University of Caen (FR) Alexandre initiated a series of theatrical experiments inspired by the writings of the Beat generation, involving dance, music and video. Upon his arrival in Belgium in 2004 Alexandre collaborated with philosopher Daniel Franco on a series of performances inspired by Ovid's Metamorphoses, presented at the Monty Theater in Antwerp and Nadine in Brussels. In 2005 and 2006, Alexandre and dancer Tawny Andersen collaborated on the choreographic research project Fall created in Belgium, Denmark and Italy. Between 2006 and 2007 Alexandre continued to develop his own aesthetic research in live performance through several residencies, experimenting possible ways to generate scenic extrapolations of Lucrece's De rerum natura (Little Boy) and Gunther Anders 's work The Outdatedness of Human Beings (I have done with the world ). In 2010 he and Tawny Andersen created the performance Uncanny Valley that premiered at Montréal's Tangente theater (CA). In 2011, he has created, in collaboration with Tawny Andersen and architect/philosopher Pierre Joachim, the installation Ghost Notes, presented at Beursschouwburg in October 2011 and February 2012, questioning the capacity of agency of the living heritage of dead thinkers, mainly articulated around the figure of Jacques Derrida, and exploring the notion of immaterial presence and physical absence of the speaker in a performative context.
Since 2012, Alexandre is working on the project Pharmakon, now through the frame of the institut nomade's research activities.

The nature of the institut nomade is fundamentally trans-disciplinary. Concerned with how the notion of "performativity" resonates in both artistic practices and cultural constructions, the institut conducts research into the ontology of performative language, the relationship between the performer/author and the stage, and the stage itself as a scene of collective individuation and thus a form of micro-politics.