no restrictions on women performing on stage; however, 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 stage names referring to 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 theater based on types. The characters from the Commedia dell'arte would have a profound effect on French theater, and one finds echoes of them in the braggarts, fools, lovers, old men and wily servants which still populate French theater. Finally, opera reached France during the second half of the 17th century. The most important theaters and troupes in Paris were: Hôtel de Bourgogne – Until 1629 this theater was occupied by various troupes, including the Comédiens du Roi directed by Vallerin Lecomte and (at his death) by Bellerose (Pierre Le Messier). The troupe became the official Troupe Royale in 1629. Actors included Turlupin, Gros-Guillaume, Gautier-Gargouille, Floridor, Monfleury and la Champmeslé. Théâtre du Marais (1600–1673) – This rival theater of the Hôtel de Bourgogne housed the troupe Vieux Comédiens du Roi around Claude Deschamps and the troupe of Jodelet. La troupe de Monsieur – Under the protection of Louis XIV's brother, this was Molière's first Paris troupe. It moved to several theaters in Paris (the Petit-Bourbon and the Palais-Royal) before combining in 1673 with the troupe of the Théâtre du Marais and becoming the troupe of the Hôtel Guénégaud. La Comédie française – In 1680, Louis XIV united the Hôtel de Bourgogne and the Hôtel Guénégaud into one official troupe. Outside Paris, in the suburbs and the provinces, there were many wandering theatrical troupes; Molière got his start in such a troupe. The royal court and other noble houses were also important organizers of theatrical representations, ballets de cour, mock battles and other forms of divertissement for their festivities; in the some cases, the roles of dancers and actors were held by the nobles themselves. The early years at Versailles—before the massive expansion of the residence—were entirely devoted to such pleasures, and similar spectacles continued throughout the reign. Engravings show Louis XIV and the court seated outside before the Cour du marbre of Versailles, watching the performance of a play. The great majority of scripted plays in the 17th