example, while the tragicomedy was fashionable at the court in the first decade, the public was more interested in tragedy. The early theatres in Paris were often placed in existing structures like tennis courts; their stages were extremely narrow, and facilities for sets and scene changes were often non-existent (this would encourage the development of the unity of place). Eventually, theatres would develop systems of elaborate machines and decors, fashionable for the chevaleresque flights of knights found in the tragicomedies of the first half of the century. In the early part of the century, the theatre performances took place twice a week starting at two or three o'clock. Theatrical representations often encompassed several works, beginning with a comic prologue, then a tragedy or tragicomedy, then a farce and finally a song. Nobles sometimes sat on the side of the stage during the performance. Given that it was impossible to lower the house lights, the audience was always aware of each other and spectators were notably vocal during performances. The place directly in front of the stage, without seats—the "parterre"—was reserved for men, but being the cheapest tickets, the parterre was usually a mix of social groups. Elegant people watched the show from the galleries. Princes, musketeers and royal pages were given free entry. Before 1630, an honest woman did not go to the theatre. Unlike England, France placed no restrictions on women performing on stage, but the career of actors of either sex was seen as morally wrong by the Catholic Church (actors were excommunicated) and by the ascetic religious Jansenist movement. Actors typically had fantastic stage names that described typical roles or stereotypical characters. In addition to scripted comedies and tragedies, Parisians were also great fans of the Italian acting troupe who performed their Commedia dell'arte, a kind of improvised theatre based on types. The characters from the Commedia dell'arte would have a profound effect on French theatre, and one finds echoes of them in the braggarts, fools, lovers, old men and wily servants that populate French theatre. Opera came to France in the second half of the century. The most important theatres and troupes in Paris: Hôtel de Bourgogne - until 1629, this theatre was occupied by various troupes, including the ("Comédiens du Roi") directed by Valleran Lecomte and, at his death, by Bellerose (Pierre Le Messier). The troupe became the official "Troupe Royale" in 1629. Actors included: