I agree with all of this, save for part of your last sentence. There was likely some local doubt, Cyprian did think that one could not claim the excuse of teaching acting instead of acting, and the actor was part of the church. Cyprian writes that the actor "is still persisting in the infamy of the same art and, as master and teacher, not for the instruction but for the downfall of youth, is also teaching others what he has unfortunately learned." This sounds like the actor was resistant to the correction proposed by Eucratius. He was still acting ("still persisting in the infamy") as well as teaching ("also teaching others").Reluctant Poster wrote: ↑Wed Jun 01, 2022 4:36 pm When writing for a common audience, it is common to set the stage as communications and their purposes largely existed between churches at that time in history, for example, and as you note, it was compelled by the question of if or how someone was to be accepted at the Table with them. If there had not been local doubt over what was allowable conduct, it is unlikely that the letter would have been written, and if Cyprian did not think the details of acting vs. teaching acting were relevant, there would be no point in addressing them. If he believed the actor to simply be unconverted or impenitent, much of his response is pointless.
My point was that Bercot constructs a narrative around this that is not supported by the text.