Singles Performance Timeline
| Tournament | 1998 | 1999 | 2000 | 2001 | 2002 | 2003 | 2004 | 2005 | 2006 | 2007 | Career SR | Career Win-Loss | ||||||
|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
| Grand Slams | ||||||||||||||||||
| Australian Open | A | A | A | A | LQ | 1R | 1R | A | A | A | 0 / 2 | 0–2 | ||||||
| French Open | A | A | A | A | LQ | F | 3R | A | A | 1R | 0 / 3 | 8–3 | ||||||
| Wimbledon | A | A | A | A | A | 1R | 2R | A | A | A | 0 / 2 | 1–2 | ||||||
| U.S. Open | A | A | A | A | 1R | 2R | A | A | A | A | 0 / 2 | 1–2 | ||||||
| Grand Slam Win-Loss | 0–0 | 0–0 | 0–0 | 0–0 | 0–1 | 7–4 | 3–3 | 0–0 | 0–0 | 0–1 | N/A | 10–9 | ||||||
| ATP Masters Series | ||||||||||||||||||
| Indian Wells Masters | A | A | A | A | A | A | 2R | A | A | A | 0 / 1 | 0–1 | ||||||
| Miami Masters | A | A | A | A | 1R | 2R | 2R | A | A | 1R | 0 / 4 | 1–4 | ||||||
| Monte Carlo Masters | A | A | A | A | A | 1R | 2R | A | A | 1R | 0 / 3 | 1–3 | ||||||
| Rome Masters | A | A | A | A | A | QF | 2R | A | A | 1R | 0 / 3 | 4-3 | ||||||
| Hamburg Masters | A | A | A | A | A | A | 1R | A | A | 1R | 0 / 2 | 0-2 | ||||||
| Canada Masters | A | A | A | A | A | 2R | A | A | A | A | 0 / 1 | 1-1 | ||||||
| Cincinnati Masters | A | A | A | A | A | 1R | A | A | A | A | 0 / 1 | 0-1 | ||||||
| Madrid Masters (Stuttgart) | A | A | A | A | A | 2R | A | A | A | A | 0 / 1 | 0-1 | ||||||
| Paris Masters | A | A | A | A | A | 3R | A | A | A | A | 0 / 1 | 1–1 | ||||||
| ATP Tournaments Won | 0 | 0 | 0 | 0 | 0 | 1 | 1 | 0 | 0 | 0 | N/A | 8-17 | ||||||
| Year End Ranking | 416 | 253 | 233 | 161 | 86 | 19 | 55 | 934 | 1540 | 678 | ||||||||
| Career Statistics | ||||||||||||||||||
| Overall Win-Loss | 1–1 | 0–0 | 0–1 | 0–1 | 7–11 | 25–25 | 26–19 | 0–0 | 0–0 | 0–1 | N/A | 59–59 | ||||||
A = did not participate in the tournament LQ = lost in the qualifying draw
Read more about this topic: Martin Verkerk
Famous quotes containing the word performance:
“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)
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