Daisy H. Avellana, is an actor, director and writer.
Born in Roxas City, Capiz on January 26, 1917, she
elevated legitimate theater and dramatic arts to a new level of excellence by staging and performing in
breakthrough productions of classic Filipino and foreign plays and by encouraging the establishment of
performing groups and the professionalization of Filipino theater. Together with her husband, National
Artist Lamberto Avellana and other artists, she co-founded the Barangay Theatre Guild in 1939 which
paved the way for the popularization of theatre and dramatic arts in the country, utilizing radio and
television.
Avellana was one of the first graduates of the UST Graduate School with Master of Arts (MA) in English.
Avellana died on May 12, 2013, at the age of 96. She starred in plays like Othello (1953), Macbeth in
Black (1959), Casa de Bernarda Alba (1967), Tatarin. She is best remembered for her portrayal of
Candida Marasigan in the stage and film versions of Nick Joaquin’s Portrait of the Artist as Filipino. Her
directorial credits include Diego Silang (1968), and Walang Sugat (1971). Among her screenplays were
Sakay (1939) and Portrait of the Artist as Filipino (1955).
(WORKS)
A Portrait of the Artist as a Filipino
A story that explores family conflict between 2 sisters and their painter father before the World War 2,
in Intramuros, Old Manila.
Sakay (1939) The story of the life and death of Macario Sakay, the President of the Tagalog Republic
and one of the last Filipino generals to surrender to the American forces during the American colonial
period.
Tandang Sora
It tells the life story of the great grandmother of Philippine Revolution who was also called Mother of
Balintawak. She became the oldest Filipino hero dying at the age of 107.
Kundiman ng Lahi
A coming-of-age story of a barrio lass in a patriarchal archipelago.
Badjao: The Sea Gypsies
Hassan, the son of a tribe chief of the Badjaos, a pagan, sea-dwelling Filipino tribe, meets and falls for
Bala-amai, the niece of the chief of the Tausugs, an Islamic, land-dwelling tribe. Although the Hassan is
willing to give up his lifestyle for Bala-amai and vice versa, the Moros plot to break up the union of the
happy couple.