The synthesis of stage fright research by Clevenger (1959) has been widely accepted and used by writers in the speech field. Since 1959, additional research has appeared which warrants an updating of Clevenger's synthesis. Such a followup synthesis is the purpose of this paper. It assumes familiarity with the first article. Measuring stage fright by observer rating scales has received considerable attention. A factor analysis of observed symptoms found three factors which are similar to each of the three measurement dimensions, suggesting more complex relationships among the three dimensions than previously assumed. Measurement by introspection has remained somewhat static during the decade, but assessing physiological disruption continues, largely based on assumptions of reliability and validity. Surprising findings indicate possible inherent stage fright differences between men and women. It would seem that new research trends could lead to finding stage fright a much more individual and complex construct than was previously thought--one which interacts with personality syndromes in ways unique to relationships among the individual, the speaking environment, and the subject matter. (Author/TS)