Fernand Crommelynck , 1885?-1970, Belgian dramatist, b. Paris. Crommelynck's first great success was a tragic farce about jealousy, Le Cocu magnifique (1921, tr. The Magnificent Cuckold, 1966). Other plays that reveal his expert craftsmanship and strong lyric power include Le Sculpteur de masques [The Sculptor of Masks] (1908), Le Marchand de regrets [The Puerile Lovers] (1913), and Carine (1930).
Bibliography: See study by B. Knapp (1978).
Author not available, CROMMELYNCK, FERNAND.,
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&type=1 "The Moscow Times (Russia)")
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Current Events, THE MOSCOW TIMES
The Moscow Times (Russia); 3/5/2004; John Freedman; 1234 words;
... is yet another in a growing line of memorable -- I think we're safe saying classic -- productions including Fernand Crommelynck's "The Magnanimous Cuckold," Franz Kafka's "The Metamorphosis," Shakespeare's "Hamlet" and "Romeo and Juliet ...
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OPERA
The Independent - London; 9/20/1994; DELLA COULING; 569 words;
... brutally uprooted from the normal processes of artistic development, would surely have written more operas. Based on Fernand Crommelynck's surreal comedy Le Cocu Magnifique, about a young husband so obsessively jealous he forces his wife into infidelity ...
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Liubov Popova. (Museum of Modern Art, New York)
The Nation; 5/6/1991; Danto, Arthur C.; 2915 words;
... brilliant costume designs for Meyerhold's production of Fernand Crommelynck's The Magnanimous Cuckold of 1922. There are three ... and dart in and out of bedrooms. The setting in Crommelynck's play was to have been the interior of a mill ...
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&type=1 "The Independent (London, England)")
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Bin Laden, Booth and Beckham all join the same club.(News)
The Independent (London, England); 9/4/2002; Jury, Louise; 442 words;
... to the dizzying expectations of them, they would be dropped. Deletions this year include the Belgian playwright Fernand Crommelynck and a 19th-century English clergyman, Henry Alford. The book goes back a long way and there will be people in ...
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Werther.(Critical Essay)
CineAction; 3/22/2002; Walker, Michael; 7900 words;
... and retained the novel's first person narrative. Instead, he and his co-writers (script Hans Wilhelm; dialogue Fernand Crommelynck) took the more conventional--but, I would argue, more productive--course of rendering the film in the third person ...
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