Delia Amadora García Gerboles better known as Delia Garcés (; 13 October 1919 – 7 November 2001) was an Argentine film actress of the Golden Age of Argentine Cinema (1940–1960). She made almost 30 appearances in film between 1937 and 1959 and acted on stage from 1936 to 1966. She won the Premios Sur Best Actress award three times from the Argentine Academy of Cinematography Arts and Sciences, as well as the Argentine Film Critics Association's Silver Condor Award for Best Actress, the Premios Leopold Torre Nilsson, Premio Pablo Podestá, and the inaugural ACE Platinum Lifetime Achievement Award from the Asociación de Cronistas del Espectáculo. Biography Delia Amadora García Gerboles was born 13 October 1919 to Gabriel García and Amadora Gerboles in Buenos Aires, Argentina. She was a student of the Labardén Children's Theatre and trained at the Conservatorio Nacional de Música y Arte Escénico (National Conservatory of Music and Performing Arts) and the Comedia Nacional at the Teatro Nacional Cervantes. Claiming she had always been a "theater rat", and performed her first role at age 8, she trained with students like Zully Moreno, Nury Montsé, Fanny Navarro, and Malisa Zini. Students received a small monthly stipend and participated in plays to hone their skills many taking pseudonyms. Between the performances of Mandinga en la sierra and Cyrano de Bergerac, María Luisa Zambrini became Malisa Sambrini and Delia Gerbolés became Delia Garcés. One of her teachers, Cunil Cabanillas, gave her her first professional role in a small part of the 1936 production of Locos de verano, a play written by Gregorio de Laferrère. Her debut in film occurred in the 1937 in ¡Segundos afuera! directed by Chas de Cruz and Alberto Echebehere. Later that same year, she was in the film Viento Norte directed by Mario Soffici, which caught the interest of critics as it was widely seen as the best film of the year. She followed those with Maestro Levita (1938), Kilómetro 111 (1938), Doce mujeres (1939), and La vida de Carlos Gardel (1939), with Hugo del Carril and Elsa O'Connor under the direction of Alberto de Zavalía, who she would soon marry. Almost from the beginning, her acting persona was of a naïve heroine, an elfin beauty, who appeared fragile, but had a touch of impishness that portrayed strength and daring. De Zavalía made eleven films with Garcés showcasing her in Dama de compañía (1941); Veinte años y