Bertolt Brecht and Hanns Eisler's Schweyk im zweiten Weltkrieg occupies a key but under-recognized place in debates about humour in anti-fascist art in the late 1950s and early 1960s – debates largely dominated by Theodor W. Adorno's critique of Brecht's satirical plays on the Third Reich. In this article Anna Papaeti examines the artistic strategies and reception history of Schweyk im zweiten Weltkrieg in the context of such debates. Focusing in particular on Eisler's musical additions for the parodic ‘higher regions’ interludes, as well as on the controversies sparked by the 1959 West German premiere, she analyzes the play's role in stimulating key debates, showing how Brecht's play and Eisler's music attain a more complex and defensible position of resistance to fascism than was allowed in Adorno's critique. Anna Papaeti has a doctorate from King's College London, has worked at the Royal Opera House, London, and as Associate Dramaturg at the Greek National Opera, Athens. Her postdoctoral research includes a DAAD fellowship on Hanns Eisler (Universität der Künste, Berlin, 2010) and a Marie Curie Intra-European Fellowship (University of Göttingen, 2011–14) on the use of music by the Greek military junta. She has previously published in such journals as Opera Quarterly, Music and Politics, and The World of Music, and in edited scholarly volumes.