By the early 1980s, Leung Hon-wai was one of the first in his generation of the Chinese Artists Association of Hong Kong (hkbarwo) who gave classes and actively engaged in talent-hunting.

In 1999, the Association and the Academy further conducted a two-year daytime diploma programme in performing arts in Cantonese Opera in order to train professional actors and actresses.

Aiming at further raising the students' level, the Association and the Academy launched an advanced course in Cantonese opera in the next academic year.

In the first decade of the Hong Kong Arts Festivals and the Festivals of Asian Arts, Cantonese opera performances contributed by those representing the lion share of the market, (well-established troupes, well-known performers Lang Chi Bak as well as Leung Sing Poh in their golden years or prominent performers in their prime) are:- Fung Wong-nui (1925–1992) Lam Kar Sing[9] (1933–2015), bearer of the tradition handed down by Sit Gok Sin and owner of name brand/tradition (personal art over lucrative "for hire" careers in films or on stage) as well as volunteer tutor to two ([10] 1987, 2008[11]) students[12] handpicked right out of training schools Loong Kim Sang Obscure groups of experimental nature, let alone those late boomers without market value, were not on the map or in the mind of those organizing these events.

To continue the tradition by passing on what elders and veterans inherited from former generations and to improve sustainability with new and original music, lyrics and scripts.

How business was conducted in a community by a juren was illustrated by Ma Sze Tsang in a film called the Big Thunderstorm (1954).

Trend-setting figure, Leung Hon-wai, talked on camera about his doctrine related to new titles he wrote and monetary backings from the various Hong Kong authorities.

The parents who had over 100 years of experience combined found sharing the stage with their son as not feasible without subsidies for Golden Will Chinese Opera Association and Wan Fai-yin, Christina.

Time To Go Home is different from those Leung debuted at arts festivals since:- In 2019, Yuen Siu Fai talked on radio that he found the readily available funding made beneficiaries financially irresponsible, unlike himself and others who put their own money where their mouths were.

Both political and social guanxi is making or breaking the future of up-and-coming performers in the same way as whether Bak Yuk Tong is remembered as one of the Four Super Stars or not.

Two performers Chan worked with closely, who definitely left the stage at will with dignity, are Yam Kim Fai and Fong Yim Fun.

They both openly rebuked (in 1969 and in 1987 respectively in no harsher way than what Lam Kar Sing and his wife did in 1983) individual off-springs who were under their wings briefly but officially.

The popularity of Yam-Fong in Hong Kong continues to thrive notwithstanding their apparent lack of official successors as Loong Kim Sang and Lee Bo Ying picked up where they left off.

Cantonese opera in Hong Kong rocketed around 1985/86, according to Li Jian, born Lai Po Yu, (黎鍵，原名黎保裕), an observer.

De facto successors to master performers, Lee Bo Ying, Lam Kar Sing, and Loong Kim Sang all left the stage in or before 1993, last watershed moment of Cantonese opera for Hong Kong and beyond in the 20th century.

For the rest of her life, Yam didn't even take the bow at curtain calls although she was in the audience on most days that Loong's troupe performed in Hong Kong.

Chan Kim-seng, the former chairperson of Chinese Artists Association of Hong Kong, saw similar threats towards Cantonese opera and fought tooth and nail for job security of members.

Commentators often take pride in the idea that all Chinese theatre styles are similar but with minor variations on the pan-Chinese music-theatre tradition and the basic features or principles are consistent from one local performance form to another.

Recordings did not replace the human voice backstage behind prop only when choir members were actually introduced to the audience at curtain call.

The research conducted by Lo showed that Cantonese Operatic Singing also relates older people to a sense of collectivism, thereby contributing to the maintenance of interpersonal relationships and promoting successful ageing.

[25] There are two types of Cantonese opera plays: Mou (武, "martial arts") and Man (文, "highly educated", esp.

Early 1960s, a sole proprietor in private sector built and operated this facility to provide performance venue, similar (in purpose) to the current Yau Ma Tei Theatre, in which upcoming artists could attain stage experience.

Prominent performers (大老倌) listed above, playing the six main characters (generally a combination of 2 Sang, 2 Daan, Zing, and Cau), are usually supposed to pay for their own costumes.

[73][74] Some costumes from famous performers, such as Lam Kar Sing[32] and Ng Kwun-Lai,[47] are on loan or donation to the Hong Kong Heritage Museum.

In the Three Kingdoms legends, Zhao Yun and especially Lü Bu are very frequently depicted wearing helmets with pheasants' tail feathers; this originates with Cantonese opera, not with the military costumes of their era, although it's a convention that was in place by the Qing Dynasty or earlier.

The actor may choose to speak any dialect of Mandarin, but the ancient Zhōngzhōu (Chinese: 中州; Jyutping: Zung1 Zau1) variant is mainly used in Cantonese opera.

For instance, the command for "to leave" is 下去 and is articulated as /saː˨˨ tsʰɵy˧˧/ in operatic Guān Huà compared to /haː˨˨ hɵy˧˧ / (Jyutping: haa6 heoi3) in modern Cantonese and /ɕi̯ɑ˥˩ tɕʰy˩/ (pinyin: xià qu) in standard Mandarin.

The "four great male vocals" (四大平喉) were all actresses and notable exponents of the "singing stage" style in the early 20th century.

For instance, the use of erhu (two string bowed fiddle), saxophones, guitars and the congas have demonstrated how diversified the musical instruments in Cantonese operas are.

The winds and strings encompass erhu, gaohu, yehu, yangqin, pipa, dizi, and houguan, while the percussion comprises many different drums and cymbals.