Dancer, Choreographer, Author and Artistic Director. She trained at Guildhall School of Music and at the Royal Academy of Dancing with Rambert, Tudor and Idzikowski.
In 1936 she made her debut in Gore's Spread it Abroad and in the same year she joined Ballet Rambert where she stayed until 1939 creating the role of the Dope Fiend in Gore's Paris Soir.
Still in London, Franca danced with Ballet des Trois Arts in 1939, the Arts Theatre in 1940 and International Ballet in 1941. Between 1941 and 1946 she danced with Sadler's Wells where she created the role in Helpmann's Hamlet and Miracle in the Gorbals and others.
Between 1947 and 1949 she was with the Metropolitan Ballet and between 1949 and 1951 with Ballet Workshop as well as performing as a guest with Ballet Rambert.
The works she choreographed include Constanza's Lament for Ballet Rambert, Khadra for Sadler's Wells and her own versions of The Nutcracker and Cinderella and ballets for the television.
Franca moved to Canada in 1951 where founded the National Ballet of Canada and later it's associate school. She was a dancer there from 1951 to 1959 and from 1951 to 1974.
After her retirement she was a guest teacher in Canada and abroad.
She published, with Ken Bell, the book The National Ballet of Canada in 1979.
Celia Franca stated she did not want a funeral. That she wanted her memory to be celebrated in the performances of the National Ballet of Canada and in the performances of the young students at Canada's National Ballet School
In 1936 she made her debut in Gore's Spread it Abroad and in the same year she joined Ballet Rambert where she stayed until 1939 creating the role of the Dope Fiend in Gore's Paris Soir.
Still in London, Franca danced with Ballet des Trois Arts in 1939, the Arts Theatre in 1940 and International Ballet in 1941. Between 1941 and 1946 she danced with Sadler's Wells where she created the role in Helpmann's Hamlet and Miracle in the Gorbals and others.
Between 1947 and 1949 she was with the Metropolitan Ballet and between 1949 and 1951 with Ballet Workshop as well as performing as a guest with Ballet Rambert.
The works she choreographed include Constanza's Lament for Ballet Rambert, Khadra for Sadler's Wells and her own versions of The Nutcracker and Cinderella and ballets for the television.
Franca moved to Canada in 1951 where founded the National Ballet of Canada and later it's associate school. She was a dancer there from 1951 to 1959 and from 1951 to 1974.
After her retirement she was a guest teacher in Canada and abroad.
She published, with Ken Bell, the book The National Ballet of Canada in 1979.
Celia Franca stated she did not want a funeral. That she wanted her memory to be celebrated in the performances of the National Ballet of Canada and in the performances of the young students at Canada's National Ballet School
Dancer, Choreographer, Author and Artistic Director. She trained at Guildhall School of Music and at the Royal Academy of Dancing with Rambert, Tudor and Idzikowski.
In 1936 she made her debut in Gore's Spread it Abroad and in the same year she joined Ballet Rambert where she stayed until 1939 creating the role of the Dope Fiend in Gore's Paris Soir.
Still in London, Franca danced with Ballet des Trois Arts in 1939, the Arts Theatre in 1940 and International Ballet in 1941. Between 1941 and 1946 she danced with Sadler's Wells where she created the role in Helpmann's Hamlet and Miracle in the Gorbals and others.
Between 1947 and 1949 she was with the Metropolitan Ballet and between 1949 and 1951 with Ballet Workshop as well as performing as a guest with Ballet Rambert.
The works she choreographed include Constanza's Lament for Ballet Rambert, Khadra for Sadler's Wells and her own versions of The Nutcracker and Cinderella and ballets for the television.
Franca moved to Canada in 1951 where founded the National Ballet of Canada and later it's associate school. She was a dancer there from 1951 to 1959 and from 1951 to 1974.
After her retirement she was a guest teacher in Canada and abroad.
She published, with Ken Bell, the book The National Ballet of Canada in 1979.
Celia Franca stated she did not want a funeral. That she wanted her memory to be celebrated in the performances of the National Ballet of Canada and in the performances of the young students at Canada's National Ballet School
In 1936 she made her debut in Gore's Spread it Abroad and in the same year she joined Ballet Rambert where she stayed until 1939 creating the role of the Dope Fiend in Gore's Paris Soir.
Still in London, Franca danced with Ballet des Trois Arts in 1939, the Arts Theatre in 1940 and International Ballet in 1941. Between 1941 and 1946 she danced with Sadler's Wells where she created the role in Helpmann's Hamlet and Miracle in the Gorbals and others.
Between 1947 and 1949 she was with the Metropolitan Ballet and between 1949 and 1951 with Ballet Workshop as well as performing as a guest with Ballet Rambert.
The works she choreographed include Constanza's Lament for Ballet Rambert, Khadra for Sadler's Wells and her own versions of The Nutcracker and Cinderella and ballets for the television.
Franca moved to Canada in 1951 where founded the National Ballet of Canada and later it's associate school. She was a dancer there from 1951 to 1959 and from 1951 to 1974.
After her retirement she was a guest teacher in Canada and abroad.
She published, with Ken Bell, the book The National Ballet of Canada in 1979.
Celia Franca stated she did not want a funeral. That she wanted her memory to be celebrated in the performances of the National Ballet of Canada and in the performances of the young students at Canada's National Ballet School
Bio by: Medora
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