See study by B. Knapp (1978).
In his earliest works Crommelynck already demonstrated the grasp of style and content that in his maturity culminated in works of great poetic force. The dramatic structure in Nous n'irons plus au bois" (1906), Le sculpteur de masques (1908) and Le marchand de regrets'' (1913), was already based on the logical development of an absurd premise.
Crommelynck's masterpiece was Le cocu magnifique in 1920, a 'lyrical farce' on the theme of a lover's jealousy. Staged with constuctivist sets by Vselvolod Meyerhold -the first of their kind- the theatre play was such a hit that Crommelynck was able to give up acting and devote himself to writing. In Tripes d'or (1926) he satirized the passion for money and the spurious prestige it confers, while in Carine, ou la jeune fille folle de son âme (1929) he contrasted love and sensuality in the story of a chaste young girl who is faithful to her ideals of love to the bitter end.
Both in language and dramatic technique, Crommelynck has been one of the most lyrical and original writers of the 20th centry theatre.