Doubles Performance Timeline
| Tournament | 1986 | 1987 | 1988 | 1989 | 1990 | 1991 | 1992 | 1993 | 1994 | 1995 | 1996 | 1997 | 1998 | 1999 | 2000 | 2001 | SR | W–L |
|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
| Grand Slams | ||||||||||||||||||
| Australian Open | NH | A | A | A | 2R | 1R | 2R | 1R | 3R | SF | W | 2R | A | A | A | A | 1 / 8 | 15–7 |
| French Open | A | 1R | 2R | 2R | F | 2R | QF | SF | A | 1R | 3R | 3R | A | A | A | A | 0 / 10 | 19–10 |
| Wimbledon | A | A | 1R | A | 2R | 2R | 1R | A | A | A | A | A | A | A | A | A | 0 / 4 | 2–4 |
| US Open | A | A | A | 3R | 2R | 3R | 1R | A | A | 3R | 1R | 1R | A | A | A | A | 0 / 7 | 7–7 |
| Win–Loss | 0–0 | 0–1 | 1–2 | 3–2 | 8–4 | 4–4 | 4–4 | 4–2 | 2–1 | 6–3 | 8–2 | 3–3 | 0–0 | 0–0 | 0–0 | 0–0 | 1 / 29 | 43–28 |
| ATP Masters Series | ||||||||||||||||||
| Indian Wells | Not MS1 Before 1990 |
1R | 1R | 1R | 1R | 1R | 1R | A | A | A | A | A | A | 0 / 6 | 0–6 | |||
| Miami | 2R | A | QF | QF | A | QF | 3R | 1R | A | A | A | A | 0 / 6 | 12–5 | ||||
| Monte Carlo | W | A | F | W | 1R | 1R | 1R | A | QF | A | A | A | 2 / 7 | 16–4 | ||||
| Rome | 1R | A | 2R | A | A | 2R | 2R | A | A | A | A | A | 0 / 4 | 3–4 | ||||
| Hamburg | 2R | A | 2R | A | A | A | A | A | A | A | A | A | 0 / 2 | 2–2 | ||||
| Canada | 1R | 2R | A | A | 1R | 1R | 2R | A | A | A | A | A | 0 / 5 | 2–5 | ||||
| Cincinnati | 2R | 1R | 1R | W | 2R | 1R | 1R | 1R | 2R | A | A | A | 1 / 9 | 8–7 | ||||
| Madrid (Stuttgart) | QF | A | A | A | A | A | 2R | A | A | A | A | A | 0 / 2 | 2–2 | ||||
| Paris | 1R | A | A | 2R | A | A | QF | A | A | A | A | A | 0 / 3 | 3–3 | ||||
| Win–Loss | N/A | 9–8 | 1–3 | 9–6 | 14–3 | 1–4 | 4–5 | 7–7 | 0–2 | 3–0 | 0–0 | 0–0 | 0–0 | 3 / 44 | 48–38 | |||
| Ranking | 296 | 91 | 46 | 26 | 15 | 63 | 64 | 32 | 115 | 44 | 23 | 220 | 321 | – | 1009 | 1536 | ||
Read more about this topic: Petr Korda
Famous quotes containing the words doubles and/or performance:
“For the poison of hatred seated near the heart doubles the burden for the one who suffers the disease; he is burdened with his own sorrow, and groans on seeing another’s happiness.”
—Aeschylus (525–456 B.C.)
“The audience is the most revered member of the theater. Without an audience there is no theater. Every technique learned by the actor, every curtain, every flat on the stage, every careful analysis by the director, every coordinated scene, is for the enjoyment of the audience. They are our guests, our evaluators, and the last spoke in the wheel which can then begin to roll. They make the performance meaningful.”
—Viola Spolin (b. 1911)