Heresy is usually defned as an error concerning the content of faith. In this article heresy is shown as a sin requiring conversion and penance and not just a withdrawal of one’s views. A sin of heresy is compared to adultery or idolatry, for which the same penance used to be assigned (e.g. Synod of Elvira in 306, can. 22). In this context the condemnation of Nestorius by the Council of Ephesus in 431 is characteristic because it is focused on the insult to Jesus Christ and not on erroneous conceptions. It is also the case with the formulas of condemnation of heretics where such invectives as contamination, sacrilegium or perfdia were often used, and those terms belong to the feld of morality rather than to intellectual disputes or differences.

In the third decade of the twenty-first century, the “cathedral” of Catholic theology has suffered some structural assaults and the way forward is a contemporary “hot topic”. This paper argues against the idea, common among Catholics of the millennial generation, that we simply need to “reboot” the system to 1959 and restore the framework of “Strict Observance Neo-Scholasticism”. Instead, it suggests that attention needs to be given to the structure itself, to issues in fundamental theology, and the relationships or “joints” in the framework of Catholic theology, along the lines recommended by Joseph Ratzinger and others in his theological circle.

Forms and means of theatrical expression in ancient Roman culture, abounding in the diversity of artistic forms, had perfect conditions for development. The cultural activity of man has naturally created the need for stage performances. This publication presents a detailed analysis of the provisions of the synods summoned and debating in the 4th and 5th centuries, A.D. T heir content was carefully referenced, in relation to actors, mimes and circus drivers. The reason for such an outline of research is the classification common to all these professions generally describing them as representatives of performing arts. The analysis on this matter was subjected, inter alia, to canons proclaimed in Elvira (306), Arles (314), Carthage (15 June 401), Hippo (427) and again in Arles (442–506). In order to more fully illustrate the issue cited in the subject, the situation of representatives of performing arts was also discussed on the example of actors in Roman public law and a short description of the history of synods in the ancient Church was presented.