This study analyses José Antonio Ruiz's version of the ballet Café de Chinitas as a theatrical expression of flamenco and its dialogue with the traditions of Lorca and Dalí. Ruiz's proposal is based on the original stage curtains designed by Salvador Dalí for La Argentinita's 1943 version, integrating costumes, set design, music and choreography into a contemporary production. A qualitative approach is used, combining stage observation and historical review of the ballet from its creation in 1931 to the present day. The work is structured in three thematic blocks—creativity, sexuality, and death—that allow Dalí and Lorca's visual and musical symbolism to be articulated through the language of flamenco. The results show that Ruiz's version reinterprets the original ballet, creating a multidisciplinary experience that strengthens the identity of Spanish dance and the preservation of choreographic heritage.