Author of "Transfigured Stages: Major Practitioners and Theatre Aesthetics in Australia" (Rodopi 2011), Margaret Hamilton specialises in research on contemporary theatre in Australia and abroad. Her research has covered Australian artists such as The Hayloft Project, Jenny Kemp, The Sydney Front (1986 - 1993), Open City (1987 - ), William Yang, the Elision Ensemble and director, Benedict Andrews, and international artists, including, Rimini Protokoll, Robert Wilson and Heiner Müller. Her work has appeared in a number of book collections, as well as refereed journals published in Australia and internationally.
Margaret completed her PhD (2006) at the University of New South Wales under the honorary supervision of Prof. Dr. Hans-Thies Lehmann, Johann Wolfgang Goethe-Universität, Frankfurt-am-Main. Her thesis is recognised as the first dissertation written on postdramatic theatre in Australia in Karen Jürs-Munby's English translation of Lehmann's book "Postdramatic Theatre" (Routledge, 2006). Prior to the University of Wollongong Margaret taught at the Institut für Anglistik and Amerikanistik, Potsdam Universität, Germany.
For a number of years Margaret worked as a consultant in international arts market development for the Australia Council for the Arts, the Federal Government's arts funding and advisory body, and was assigned to the Public Diplomacy Team at the Australian Embassy, Berlin. In Berlin she developed and managed a major program of contemporary Australian arts and a subsidiary European touring program for the Australia Council for the Arts, the Australia International Cultural Council and the Department of Foreign Affairs and Trade. The program included the music theatre productions "Yuè Lìng Jié" (Elision Ensemble) and "The Theft of Sita" (Australian Art Orchestra/ I Wayan Gde Yudane), the outdoor aerial performance "Homeland" (Legs on the Wall), the Sandy Evans Trio, and a major exhibition of contemporary Australian art at the Hamburger Bahnhof: Museum for Contemporary Art in Berlin.
Her extensive experience in the European cultural industry has involved collaborations with the Hebbel Theater Berlin, Zürcher Theater Spektakel, Berliner Festspiele, Theater der Welt and a number of other European venues and festivals, and representation at trade fairs, including the Australian Performing Arts Market and the Informal European Theatre Meeting.
In Australia her professional appointments reflect fifteen years experience in arts administration, policy and funding, and she has written for a number of cultural industry publications, including articles for the Australia Council and the Goethe-Institut Inter Nationes in Australia.