The experimental phase of Cantonese Opera ended abruptly during the Second World War, when Guangdong and Hong Kong were occupied by Japanese troupes. During the Japanese regime, artists were compelled to continue their performances in order to pacify the people and maintain an illusion of peace. Indeed, performers were given extra rations if they were willing to comply. However, the performances were heavily censored and monitored so as not to subvert the Japanese political aspirations. Any line or song could be interpreted as anti-Japanese and artists would receive severe punishments if they were caught.

With the exception of the Japanese occupation from 1941-9145, Hong Kong saw robust performing activities. After the establishment of the PRC in 1949, both Guangzhou and Hong Kong once again became centres to Cantonese Opera. However, during the Cultural Revolution the operatic traditions on the mainland largely ceased and in time the guardians of the Cantonese opera trickled into Hong Kong for both better opportunities and asylum. As the city grew in wealth and population, Cantonese Opera emerged as a major form of entertainment. Thus Hong Kong became, and is to this date, the center of Cantonese Opera.

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