The contribution presents the work of two Slovene professional theatres that were active in the period of World War II. One of them was active in the occupied territory, the other operated in the last two years of the war in the liberated territory. In terms of cultural policy, leaderships of both theatres adapted to quite different circumstances in which they were active. The contribution highlights similarities and dissimilarities of both theatres in relation to the authorities, programme policy and censorship practices.