Women's Doubles Performance Timeline
| Tournament | 1990 | 1991 | 1992 | 1993 | 1994 | 1995 | 1996 | 1997 | 1998 | 1999 | 2000 | 2001 | 2002 | 2003 | 2004 | 2005 | 2006 | 2007 | 2008 | 2009 | 2010 | 2011 | 2012 | W–L |
|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
| Grand Slam Tournaments | ||||||||||||||||||||||||
| Australian Open | A | A | A | A | 3R | SF | QF | F | SF | SF | W | 1R | SF | SF | 2R | 2R | F | SF | 1R | 3R | SF | 3R | QF | 57–18 |
| French Open | A | A | A | A | F | A | 3R | F | 1R | 1R | 3R | SF | F | 3R | SF | QF | W | SF | 3R | 3R | 3R | SF | 1R | 51–16 |
| Wimbledon | A | A | A | A | 3R | 1R | 3R | QF | SF | 3R | SF | W | QF | SF | SF | 1R | 3R | SF | F | 1R | QF | QF | SF | 55–18 |
| US Open | 2R | A | A | 2R | QF | 3R | 2R | 3R | SF | 3R | QF | W | 3R | 2R | QF | W | SF | 3R | F | 1R | QF | W | 3R | 59–18 |
Read more about this topic: Lisa Raymond
Famous quotes containing the words women, doubles and/or performance:
“I don’t know what immutable differences exist between men and women apart from differences in their genitals; perhaps there are some other unchangeable differences; probably there are a number of irrelevant differences. But it is clear that until social expectations for men and women are equal, until we provide equal respect for both men and women, our answers to this question will simply reflect our prejudices.”
—Naomi Weisstein (b. 1939)
“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)