Perhaps because of the play of lights, in the contrast between the illuminated scene and the audience in the dark; or for the continuous dynamism, in the swirling movement of actors, but above all of dancers; and for the strong chromatism, in the bright colors of the costumes and make-up; or finally for the suggestions of the orchestra, and the chanteuses. A vortex of sounds, lights and colors: in short, dynamism. But with a caveat. Baldessari’s is a ‘passive’ position towards the theater and entertainment. A fruition of sensations and impressions to be shown on the canvas as a spectator, a bit in the manner of Toulouse-Lautrec, therefore lacking the active planning that instead led Depero to a much greater involvement, that is, also to the creation of costumes and theatrical scenery. Baldessari, however, unlike Depero, who engaged himself with the Russian Ballets in works of scenography and costume design, is above all a painter, and lives the theater precisely in its transposition of memory, according to those chromatic, dynamic and sound components described above . Symptomatic of this vision are Chanteuse, of 1916, which offers a close-up on the emphasis of stage makeup, and Scene per Teatro Spaziale (Scenes for Space Theatre), of 1919, which instead fixes, briefly, a moment of scenic action. But besides these paintings there is certainly a long line of titles that clearly denounce his deep interest in the theater.