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Chinese Comic Dialogues and sketches(CCDS for short) now play very important roles in people’s spiritual lives. Aiming at the phenomenon that some sketches are popular and welcome at home yet questioned abroad, this article analyzes, gives the criteria of Chinese Comic Dialogues and sketches based on Principles of Discourse Construction The article emphasizes that actors should not satirize the disabled and the mentally disordered, sing the praises for swindlers, perform the obscene pieces and also cannot make unhealthy tendencies and evil influences of society etc, otherwise, the performance is vulgar. “Situationality” is in having different works corresponding to different occasions or different audiences. “Acceptability” is in the audience’s satisfaction with performances. The acceptability is a sufficient condition yet not a necessary condition. Therefore, proceeding from promoting the harmonious development of Chinese society, the evaluation criteria of CCDS are: the performances should win the applause of vast spectators, and the content must be positive and progressive as well. KEYWORD: Chinese Comic Dialogues (CCD); Sketches; the Principles of Discourse Construction; Evaluation Criteria International Conference on Social Science, Education Management and Sports Education (SSEMSE 2015) © 2015. The authors Published by Atlantis Press 1567 2 THE PRINCIPLE OF DISCOURSE CONSTRUCTIONS This paper, starting from the principle of discourse construction, will analyze the evaluation criteria of CCDS. Text linguists Beaugrande and Dressler [1] proposed seven standards of textuality: cohesion, coherence, intentionality, acceptability, informativity, situationality, and intertextuality. The establishment of a discourse needs to be in line with them. “Intentionality” concerns the text producer's attitude and intentions as the text producer uses cohesion and coherence to attain a goal specified in a plan; Informativity requires the discourse to express enough amounts of new information; Cohesion is a semantic one; it refers to relations of meaning that exist within the text, and that define it as a text [2]; Coherence indicts the relationship between the informative units; intertextuality can be defined simply as the relationship of a text with other texts [3], it points out the similarity in the language structure between one discourse and the others; Acceptability concerns the text receiver's attitude that the text should constitute useful or relevant details or information such that it is worth accepting. Any text, only when it is truly understood by many a listener or reader can it be a true text. Situationality concerns the factors which make a text relevant to the situation of occurrence or the discourse originate from the situation. 2.1 Intentionality and informativity As intentionality and informativity have certain connection, we put them together for research. “Intentionality” refers to the intention of those who have the intention to generate discourse, it is firstly registered as the entertainment, then according to different types of works, it manifests the promotion of rightness of the serious drama or the irony of unhealthy tendencies, evil influence of the satirical essay, which are mainly determined by the script. The comic dialogue “Corporation of theft" performed by NiuQun satirizes the institution to be overstaffing, “Concocting various pretexts" satirizes a leading cadre being spendthrift in feasting under all sorts of names, " Multi-storey hotel" performed by Ma Ji was for satirizing the low efficiency of certain organs, "Police and thief" played by Zhu Shimao and Cheng Peisi have sung the praises of police's alertness and satirized the clumsiness of the thief. The sketch "Decorating like this" acted by Huang Hong exposed some of the scenes during the barbaric decoration, "Planning", with Zhao Benshan and Niu Qun as the leading roles disclosed the problem of false advertising of television. All the above are good works of art rich in conception. There are also other works, though the performance on the spot is very hot, the audience are very satisfied, yet they can't be considered excellent works because the taste of it is in question. For example, the swindle series of sketches "Selling a crutch" with Zhao Benshan, Fan Wei , Gao Xiuming as the leading roles (including selling a crutch , selling vehicle , selling a cat). The whole works of "Selling a crutch", except that it stands out Zhao's skill in HuYou (cheating) , gives people the impression that good people are easily cheated by bad guys, and they are very foolish while the swindler are both intelligent and lovely. "Selling a cat" manifests more problems. Though the "big HuYou" (Zhao) doesn't appear on the stage, yet his remaining prestige is still there, in the play, the cheated has become aware of some sort of cheating and begun to deceive someone else. But the swindler also displays he has a lot of “conscience”, and deceives the others only for the protection of those who are deceived. It seems that the whole society has become a “HuYou” one , lacking in social integrity. In the piece "Little short of money", both the writer and the actors want to reflect the improved living standards of farmers and their beginning to the pursuit of higher spiritual and cultural life. But on the subject matter, it exaggerates peasants' richness level. So the work’s authenticity is worth suspecting. There are also a number of comics belonging to serious drama, as far as the ideological content is concerned, there is no problem, but there is some difficulty for people to understand its comic effect. 2.2 The principle of intertextuality, cohesion and coherence Due to the fact that the principle of intextuality, cohesion and coherence have some connections, we'd like to put them together for research. The principle of intertextuality is reflected in the following: one is that the actor should select the role which is appropriate to his own characteristics, the other is that he ought to try his best to express the intention of the original work. Intertextuality plays a very important role in CCDS. The actor will achieve maximum results with little effort if he uses it wisely. Failure to using it properly will result in opposite effect. There are two sorts of relationship between the works and the actors. One is for the actor selecting the work, the other is in the writer's creating distinctive works suitable for his performance. It is quite obvious that the second method can best express the connotation of the work. For example, Zhao Benshan is the best sketch actor among the Chinese people as far as his ability in humor and making laugh is concerned. No matter what the content of the sketch is, he can amuse many people, or to be more exact, most of the audiences on the spot can do nothing but laugh, the performance effect is truly very good. So it is in America. But why is there a growing amount of

Study on Evaluation Criteria of Chinese Comic Dialogues and Sketches Based on Principles of Discourse Construction