Mixed Doubles Performance Timeline
| Tournament | 1998 | 1999 | 2000 | 2001 | 2002 | 2003 | 2004 | 2005 | 2006 | 2007 | 2008 | 2009 | 2010 | 2011 | Career SR | Career Win-Loss |
|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
| Australian Open | A | A | 2R | 1R | 1R | 2R | 2R | QF | 1R | 1R | QF | 2R | W | 2R | 1 / 12 | 14–11 |
| French Open | A | 3R | 3R | 1R | 1R | W | SF | F | 2R | 1R | 2R | 2R | QF | A | 1 / 12 | 19–11 |
| Wimbledon | 3R | 3R | 2R | 3R | 2R | 3R | W | 2R | SF | QF | 3R | F | W | QF | 2 / 14 | 36–12 |
| US Open | A | 2R | 2R | QF | QF | SF | 2R | 2R | 1R | 1R | W | F | QF | A | 1 / 12 | 22–11 |
| Grand Slam MDR | 0 / 1 | 0 / 3 | 0 / 4 | 0 / 4 | 0 / 4 | 1 / 4 | 1 / 4 | 0 / 4 | 0 / 4 | 0 / 4 | 1 / 4 | 0 / 4 | 2 / 4 | 0 / 2 | 5 / 50 | N / A |
| Grand Slam Win-Loss | 2–1 | 5–3 | 5–4 | 4–4 | 3–4 | 11–3 | 12–3 | 8–4 | 6–4 | 3–4 | 11–3 | 10–4 | 14–2 | 2–2 | 78–39 |
Read more about this topic: Cara Black
Famous quotes containing the words mixed, doubles and/or performance:
“When truth is nothing but the truth, it’s unnatural, it’s an abstraction that resembles nothing in the real world. In nature there are always so many other irrelevant things mixed up with the essential truth. That’s why art moves you—precisely because it’s unadulterated with all the irrelevancies of real life.”
—Aldous Huxley (1894–1963)
“Despots play their part in the works of thinkers. Fettered words are terrible words. The writer doubles and trebles the power of his writing when a ruler imposes silence on the people. Something emerges from that enforced silence, a mysterious fullness which filters through and becomes steely in the thought. Repression in history leads to conciseness in the historian, and the rocklike hardness of much celebrated prose is due to the tempering of the tyrant.”
—Victor Hugo (1802–1885)
“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)