So far, he has written more than 50 plays, such as satire, advertisements, one-act plays, black comedies and absurd plays. There are many styles, but none of them are about the relationship between men and women and parents. Close to the public, easy to understand, is also his best and most influential, when his political satire, or current affairs satire. Although Dario Buddha's political satires are different in content, they all draw inspiration from real life and collect materials, and they all directly reflect major events at home and abroad. Soaring prices, freedom of abortion, divorce law, bribery of officials, cruel exploitation of workers by capitalists, collusion between underworld and political power, etc. are all the most sensitive issues of ordinary people, and Dario Buddha exposed them in broad daylight in his political satires. His sarcasm is sharp and his attack is fierce, which is really rare.

Dario Buddha's satirical comedy touched the nerves of some forces and was denounced as "political propaganda". But his works are by no means illustrations of political slogans, and watching his plays is not boring. His satirical comedies, showing aggressive critical edge, naturally need complementary drama forms.

Therefore, Dario Buddha boldly abandoned the norms of orthodox drama, tried to learn from the tradition of national drama, and turned his attention to ancient Italian folk drama. He calls himself "the bard of the people" and "the bard of the oppressed". The so-called bard refers to Italian medieval folk artists, who combined rap, drama and acrobatics. They usually wandered around and performed on the walls, squares and churches in rural areas and towns during festivals, baptisms and weddings. They widely spread the social news and people's thoughts and feelings at that time. Bards played an important role in the development of mass cultural life and literature and art in the Middle Ages.

At the same time, Dario Buddha carefully inherited the tradition of impromptu comedy (or masked comedy) that prevailed among Italian people from 15 to 17, and borrowed from his improvisation and comedy techniques.

Most of Dario Buddha's plays are hastily created in response to major events at home and abroad and people's sensitive issues. He once said: "We immediately respond to major political events, preferring to put on an immature play and perfect it in the performance, rather than waiting for a long time." Therefore, he learned creative methods from impromptu comedy. His plays are often closer to the outline and have no stereotypes. Actors should not only be familiar with society, but also have superb acting skills, be good at improvising in performances, and constantly modify, enrich and improve scripts through performance practice, so some scripts will have several versions. He asked every performance to improvise, and the actors were good at improvising, grasping and improvising the emotions of the audience, and even turned the occasional cry of the audience and the cry of a child into an impromptu drama. He also borrowed many characteristics of impromptu comedy, such as the fascinating plot and the agility, lightness and surprise of the story.

Dario Buddha's drama creation activities are not tolerated by the authorities and the church. His plays have been repeatedly made difficult and obstructed by drama censors. In the fifties and sixties, his troupe was called "* * * Production Party Troupe" by the authorities, and engaged in "Red Tide". Every performance, the police will send someone to the scene to check whether there are any deviant lines in the performance. The ideological content and performance form of Dario Buddha's plays require close contact with the people. In order to break through the oppression and containment of the right wing and church forces, his drama activities need to be based on the grassroots and go to the people. Like Cuban de, he and his wife in Latin America often lead the troupe to tour factories and rural areas, and even perform in streets and squares. Apennine Peninsula, Sicily and Sardinia have left their footprints everywhere. During the performance, he improvised a monologue for the audience, talked with the audience and tried to keep in touch with the audience naturally. Every performance has become a spiritual dialogue between the actors and the audience, with unrestrained emotional exchange, laughter and applause, and the voice of * * * is extremely strong. After the performance, Dario Buddha had a discussion with the audience to discuss Italy's political, social and artistic issues. The atmosphere of this discussion is extremely warm, and it often lasts until late at night. The audience from the grass-roots level: workers, farmers, housewives, teachers, college students and artists. They not only expressed their feelings about watching the drama, but also told their experiences and events in the surrounding reality, which provided creative materials for the troupe. Dario Buddha's plays not only have a wide and lasting audience in Italy, but also are very popular abroad. They have performed more than 3000 performances in dozens of countries.