Rad obrađuje temu globalnih migracija u suvremenoj španjolskoj drami na prijelazu stoljeća, od 90-ih godina XX. do prvog desetljeća XXI. stoljeća, kada uočavamo sve veći broj dramskih djela koja tematiziraju probleme s kojima se susreće multikulturalno španjolsko društvo. Unutar danog povijesnog konteksta utvrđuju se tematske smjernice dramskih djela u kojima motivi poput marginalizacije, rasizma i netolerancije prema strancima ocrtavaju sliku šire kulturne pozadine i sveprisutnu polarizaciju španjolskog društva. Analiziraju se motivi koji tvore migrantski diskurs te žanrovske osobitosti dramskih djela na tragu postmodernizma, pri čemu se naglasak stavlja na dekonstrukciju nacionalnog narativa na kojem se gradi predodžba stabilnog kulturnog identiteta u opreci prema Drugome. This paper studies the topic of global migrations in contemporary Spanish drama atthe turn of the century, from the 1990s until the first decade of the 21st century, aperiod in which we can observe an increasing number of plays that face the problem ofmulticultural Spanish society. The thematic and structural characteristics of the dramaticcorpus show how playwrights participate in social debate and inscribe new signs into the Spanish cultural space. Firstly, we describe the historical, cultural and social context of Spanish opening to migration flows from the European Union, Africa, Latin America and Asia. Secondly, the paper analyses how new circumstances affect the appearance of topics related to migration and Otherness as a complex phenomenon that combines geographical, social, economic, cultural and historical aspects united by the concept of national identity. The research reveals that the frequent motives of marginalization, intolerance and violence express an attitude towards foreigners, but at the same time outline the picture of the broader cultural background and ubiquitous polarization of Spanish society. In addition, we observe that the plays question the migrant discourse based on the motifs of borders, travel, memory and forgetting as the opposition to the chronologically structured national (hi)story. The playwrights question the status of the individual in the new geopolitical, social and cultural circumstances, as well as the sustainability of the monolithic national narrative within the new global order. One part of the dramatic opus also uses postmodern techniques in the deconstruction of that official narrative, whereby the emphasis is placed on the deconstruction of the national discourse on which the idea of a stable cultural identity is built in opposition to the foreign, that is, the Other.