Serviços de atenção básica frente à pandemia de covid-19 / Basic care services in front of the covid-19 pandemic

Objetivo: analisar a literatura científica acerca do papel dos serviços de atenção básica frente à pandemia da COVID-19. Método: trata-se de uma revisão integrativa, realizada no período de outubro e novembro de 2020, a partir de fontes secundárias, selecionadas nas bases de dados da MEDLINE, LILACS, BVS, PUBMED e SciELO. Os dados obtidos foram organizados em quadro e fluxograma. Resultados: Dos treze artigos selecionados para este estudo, 100% dos artigos foram publicados em 2020, sendo 69% em periódicos internacionais e 31% em periódicos nacionais. Em relação à base de dados/ biblioteca virtual selecionada, 92% dos artigos podem ser encontrados na BVS, 42% na SciElo e 8% na PubMed. Conclusão: O papel dos serviços de atenção básica frente à pandemia do COVID-19 consiste em monitorar, notificar e fornecer dados sobre a doença. Devendo agir com rapidez na detecção dos sintomas e encaminhamento dos pacientes que ocasionalmente evoluem de uma infecção leve ou moderada para grave, para unidades hospitalares de referência.

Worldwide trends in hypertension prevalence and progress in treatment and control from 1990 to 2019: a pooled analysis of 1201 population-representative studies with 104 million participants.

BACKGROUND: Hypertension can be detected at the primary health-care level and low-cost treatments can effectively control hypertension. We aimed to measure the prevalence of hypertension and progress in its detection, treatment, and control from 1990 to 2019 for 200 countries and territories. METHODS: We used data from 1990 to 2019 on people aged 30-79 years from population-representative studies with measurement of blood pressure and data on blood pressure treatment. We defined hypertension as having systolic blood pressure 140 mm Hg or greater, diastolic blood pressure 90 mm Hg or greater, or taking medication for hypertension. We applied a Bayesian hierarchical model to estimate the prevalence of hypertension and the proportion of people with hypertension who had a previous diagnosis (detection), who were taking medication for hypertension (treatment), and whose hypertension was controlled to below 140/90 mm Hg (control). The model allowed for trends over time to be non-linear and to vary by age. FINDINGS: The number of people aged 30-79 years with hypertension doubled from 1990 to 2019, from 331 (95% credible interval 306-359) million women and 317 (292-344) million men in 1990 to 626 (584-668) million women and 652 (604-698) million men in 2019, despite stable global age-standardised prevalence. In 2019, age-standardised hypertension prevalence was lowest in Canada and Peru for both men and women; in Taiwan, South Korea, Japan, and some countries in western Europe including Switzerland, Spain, and the UK for women; and in several low-income and middle-income countries such as Eritrea, Bangladesh, Ethiopia, and Solomon Islands for men. Hypertension prevalence surpassed 50% for women in two countries and men in nine countries, in central and eastern Europe, central Asia, Oceania, and Latin America. Globally, 59% (55-62) of women and 49% (46-52) of men with hypertension reported a previous diagnosis of hypertension in 2019, and 47% (43-51) of women and 38% (35-41) of men were treated. Control rates among people with hypertension in 2019 were 23% (20-27) for women and 18% (16-21) for men. In 2019, treatment and control rates were highest in South Korea, Canada, and Iceland (treatment >70%; control >50%), followed by the USA, Costa Rica, Germany, Portugal, and Taiwan. Treatment rates were less than 25% for women and less than 20% for men in Nepal, Indonesia, and some countries in sub-Saharan Africa and Oceania. Control rates were below 10% for women and men in these countries and for men in some countries in north Africa, central and south Asia, and eastern Europe. Treatment and control rates have improved in most countries since 1990, but we found little change in most countries in sub-Saharan Africa and Oceania. Improvements were largest in high-income countries, central Europe, and some upper-middle-income and recently high-income countries including Costa Rica, Taiwan, Kazakhstan, South Africa, Brazil, Chile, Turkey, and Iran. INTERPRETATION: Improvements in the detection, treatment, and control of hypertension have varied substantially across countries, with some middle-income countries now outperforming most high-income nations. The dual approach of reducing hypertension prevalence through primary prevention and enhancing its treatment and control is achievable not only in high-income countries but also in low-income and middle-income settings. FUNDING: WHO

Worldwide trends in hypertension prevalence and progress in treatment and control from 1990 to 2019: a pooled analysis of 1201 population-representative studies with 104 million participants

Background Hypertension can be detected at the primary health-care level and low-cost treatments can effectively control hypertension. We aimed to measure the prevalence of hypertension and progress in its detection, treatment, and control from 1990 to 2019 for 200 countries and territories. Methods We used data from 1990 to 2019 on people aged 30-79 years from population-representative studies with measurement of blood pressure and data on blood pressure treatment. We defined hypertension as having systolic blood pressure 140 mm Hg or greater, diastolic blood pressure 90 mm Hg or greater, or taking medication for hypertension. We applied a Bayesian hierarchical model to estimate the prevalence of hypertension and the proportion of people with hypertension who had a previous diagnosis (detection), who were taking medication for hypertension (treatment), and whose hypertension was controlled to below 140/90 mm Hg (control). The model allowed for trends over time to be non-linear and to vary by age. Findings The number of people aged 30-79 years with hypertension doubled from 1990 to 2019, from 331 (95% credible interval 306-359) million women and 317 (292-344) million men in 1990 to 626 (584-668) million women and 652 (604-698) million men in 2019, despite stable global age-standardised prevalence. In 2019, age-standardised hypertension prevalence was lowest in Canada and Peru for both men and women; in Taiwan, South Korea, Japan, and some countries in western Europe including Switzerland, Spain, and the UK for women; and in several low-income and middle-income countries such as Eritrea, Bangladesh, Ethiopia, and Solomon Islands for men. Hypertension prevalence surpassed 50% for women in two countries and men in nine countries, in central and eastern Europe, central Asia, Oceania, and Latin America. Globally, 59% (55-62) of women and 49% (46-52) of men with hypertension reported a previous diagnosis of hypertension in 2019, and 47% (43-51) of women and 38% (35-41) of men were treated. Control rates among people with hypertension in 2019 were 23% (20-27) for women and 18% (16-21) for men. In 2019, treatment and control rates were highest in South Korea, Canada, and Iceland (treatment >70%; control >50%), followed by the USA, Costa Rica, Germany, Portugal, and Taiwan. Treatment rates were less than 25% for women and less than 20% for men in Nepal, Indonesia, and some countries in sub-Saharan Africa and Oceania. Control rates were below 10% for women and men in these countries and for men in some countries in north Africa, central and south Asia, and eastern Europe. Treatment and control rates have improved in most countries since 1990, but we found little change in most countries in sub-Saharan Africa and Oceania. Improvements were largest in high-income countries, central Europe, and some upper-middle-income and recently high-income countries including Costa Rica, Taiwan, Kazakhstan, South Africa, Brazil, Chile, Turkey, and Iran. Interpretation Improvements in the detection, treatment, and control of hypertension have varied substantially across countries, with some middle-income countries now outperforming most high-income nations. The dual approach of reducing hypertension prevalence through primary prevention and enhancing its treatment and control is achievable not only in high-income countries but also in low-income and middle-income settings. Copyright (C) 2021 World Health Organization; licensee Elsevier

Worldwide trends in hypertension prevalence and progress in treatment and control from 1990 to 2019: a pooled analysis of 1201 population-representative studies with 104 million participants

Background Hypertension can be detected at the primary health-care level and low-cost treatments can effectively control hypertension. We aimed to measure the prevalence of hypertension and progress in its detection, treatment, and control from 1990 to 2019 for 200 countries and territories. Methods We used data from 1990 to 2019 on people aged 30–79 years from population-representative studies with measurement of blood pressure and data on blood pressure treatment. We defined hypertension as having systolic blood pressure 140 mm Hg or greater, diastolic blood pressure 90 mm Hg or greater, or taking medication for hypertension. We applied a Bayesian hierarchical model to estimate the prevalence of hypertension and the proportion of people with hypertension who had a previous diagnosis (detection), who were taking medication for hypertension (treatment), and whose hypertension was controlled to below 140/90 mm Hg (control). The model allowed for trends over time to be non-linear and to vary by age. Findings The number of people aged 30–79 years with hypertension doubled from 1990 to 2019, from 331 (95% credible interval 306–359) million women and 317 (292–344) million men in 1990 to 626 (584–668) million women and 652 (604–698) million men in 2019, despite stable global age-standardised prevalence. In 2019, age-standardised hypertension prevalence was lowest in Canada and Peru for both men and women; in Taiwan, South Korea, Japan, and some countries in western Europe including Switzerland, Spain, and the UK for women; and in several low-income and middle-income countries such as Eritrea, Bangladesh, Ethiopia, and Solomon Islands for men. Hypertension prevalence surpassed 50% for women in two countries and men in nine countries, in central and eastern Europe, central Asia, Oceania, and Latin America. Globally, 59% (55–62) of women and 49% (46–52) of men with hypertension reported a previous diagnosis of hypertension in 2019, and 47% (43–51) of women and 38% (35–41) of men were treated. Control rates among people with hypertension in 2019 were 23% (20–27) for women and 18% (16–21) for men. In 2019, treatment and control rates were highest in South Korea, Canada, and Iceland (treatment >70%; control >50%), followed by the USA, Costa Rica, Germany, Portugal, and Taiwan. Treatment rates were less than 25% for women and less than 20% for men in Nepal, Indonesia, and some countries in sub-Saharan Africa and Oceania. Control rates were below 10% for women and men in these countries and for men in some countries in north Africa, central and south Asia, and eastern Europe. Treatment and control rates have improved in most countries since 1990, but we found little change in most countries in sub-Saharan Africa and Oceania. Improvements were largest in high-income countries, central Europe, and some upper-middle-income and recently high-income countries including Costa Rica, Taiwan, Kazakhstan, South Africa, Brazil, Chile, Turkey, and Iran. Interpretation Improvements in the detection, treatment, and control of hypertension have varied substantially across countries, with some middle-income countries now outperforming most high-income nations. The dual approach of reducing hypertension prevalence through primary prevention and enhancing its treatment and control is achievable not only in high-income countries but also in low-income and middle-income settings

Worldwide trends in hypertension prevalence and progress in treatment and control from 1990 to 2019: a pooled analysis of 1201 population-representative studies with 104 million participants

Background Hypertension can be detected at the primary health-care level and low-cost treatments can effectively control hypertension. We aimed to measure the prevalence of hypertension and progress in its detection, treatment, and control from 1990 to 2019 for 200 countries and territories. Methods We used data from 1990 to 2019 on people aged 30–79 years from population-representative studies with measurement of blood pressure and data on blood pressure treatment. We defined hypertension as having systolic blood pressure 140 mm Hg or greater, diastolic blood pressure 90 mm Hg or greater, or taking medication for hypertension. We applied a Bayesian hierarchical model to estimate the prevalence of hypertension and the proportion of people with hypertension who had a previous diagnosis (detection), who were taking medication for hypertension (treatment), and whose hypertension was controlled to below 140/90 mm Hg (control). The model allowed for trends over time to be non-linear and to vary by age. Findings The number of people aged 30–79 years with hypertension doubled from 1990 to 2019, from 331 (95% credible interval 306–359) million women and 317 (292–344) million men in 1990 to 626 (584–668) million women and 652 (604–698) million men in 2019, despite stable global age-standardised prevalence. In 2019, age-standardised hypertension prevalence was lowest in Canada and Peru for both men and women; in Taiwan, South Korea, Japan, and some countries in western Europe including Switzerland, Spain, and the UK for women; and in several low-income and middle-income countries such as Eritrea, Bangladesh, Ethiopia, and Solomon Islands for men. Hypertension prevalence surpassed 50% for women in two countries and men in nine countries, in central and eastern Europe, central Asia, Oceania, and Latin America. Globally, 59% (55–62) of women and 49% (46–52) of men with hypertension reported a previous diagnosis of hypertension in 2019, and 47% (43–51) of women and 38% (35–41) of men were treated. Control rates among people with hypertension in 2019 were 23% (20–27) for women and 18% (16–21) for men. In 2019, treatment and control rates were highest in South Korea, Canada, and Iceland (treatment >70%; control >50%), followed by the USA, Costa Rica, Germany, Portugal, and Taiwan. Treatment rates were less than 25% for women and less than 20% for men in Nepal, Indonesia, and some countries in sub-Saharan Africa and Oceania. Control rates were below 10% for women and men in these countries and for men in some countries in north Africa, central and south Asia, and eastern Europe. Treatment and control rates have improved in most countries since 1990, but we found little change in most countries in sub-Saharan Africa and Oceania. Improvements were largest in high-income countries, central Europe, and some upper-middle-income and recently high-income countries including Costa Rica, Taiwan, Kazakhstan, South Africa, Brazil, Chile, Turkey, and Iran. Interpretation Improvements in the detection, treatment, and control of hypertension have varied substantially across countries, with some middle-income countries now outperforming most high-income nations. The dual approach of reducing hypertension prevalence through primary prevention and enhancing its treatment and control is achievable not only in high-income countries but also in low-income and middle-income settings

Maturidade do ator: ofício e cultivo de si

Submitted by Gabriela Caetano ([email protected]) on 2019-10-10T22:24:41Z No. of bitstreams: 1 Tese_Priscilla de Queiroz Duarte .pdf: 106204888 bytes, checksum: 6b1a41a8fc6dee4cbd3510c787ea7f0a (MD5)Approved for entry into archive by Eliane Andrade ([email protected]) on 2019-10-14T12:01:36Z (GMT) No. of bitstreams: 1 Tese_Priscilla de Queiroz Duarte .pdf: 106204888 bytes, checksum: 6b1a41a8fc6dee4cbd3510c787ea7f0a (MD5)Made available in DSpace on 2019-11-20T13:04:21Z (GMT). No. of bitstreams: 1 Tese_Priscilla de Queiroz Duarte .pdf: 106204888 bytes, checksum: 6b1a41a8fc6dee4cbd3510c787ea7f0a (MD5) Previous issue date: 2019-04-12A presente pesquisa é uma reflexão sobre a maturidade artística, a partir da experiência de quatro atores europeus, todos com mais de sessenta anos de idade, que se formaram entre os anos 1960-1970, e que trabalham em uma dimensão laboratorial, que relaciona-se a um trabalho sobre si. É estabelecida uma ligação entre essa maturidade e as tensões que se criam com os tempos “sem ritmo” da contemporaneidade. Os quatro atores são: Iben Nagel Rasmussen, do Odin Teatret (Dinamarca), Beppe Chierichetti e Luigia Calcaterra, do Teatro Tascabile di Bergamo (Itália) e François Kahn (França). Confronta-se o tema da pesquisa ao experimento cênico O Cântaro realizado pela pesquisadora, a partir do romance A Caverna, de José Saramago, sob a orientação de François Kahn. No primeiro capítulo, segue-se uma discussão sobre a relação entre ficção e realidade, assim como sobre a questão do Sujeito como self e do cultivo de si. Apresentam-se os conceitos de artista e de artesão em Mário de Andrade, e de artífice e trabalho bem-feito, em Richard Sennett. A maturidade artística em Constantin Stanislavski é destacada, assim como o conceito de flor nas diversas etapas da vida de um ator nō, a partir de Motokyio Zeami. Por fim, discute-se a noção de presença do ator na cena contemporânea. No segundo capítulo, destacam-se os contextos históricos dos teatros-laboratório dos anos 1960-1970 na Europa, e especificamente dos grupos ou realidades nas quais atuam os atores participantes da pesquisa, o Odin Teatret (Dinamarca), o Teatro Tascabile di Bergamo (Itália) e as diversas atividades de François Kahn, do parateatro (Polônia), com Jerzy Grotowski ao Teatro da Camera (Itália e França). No terceiro capítulo, apresentam-se quatro propostas para a maturidade do ator no terceiro milênio, associadas aos sujeitos participantes da pesquisa: Iben Nagel Rasmussen, transparência; François Kahn, silêncio; Beppe Chierichetti, vulnerabilidade e Luigia Calcaterra, abandono. No quarto capítulo, aponta-se o sentimento como possível qualidade que norteia a trajetória da pesquisadora e discorre-se sobre a escolha da palavra como principal veículo expressivo para a cena. Por fim, discute-se sobre a adaptação do romance A Caverna, de José Saramago para o experimento cênico O Cântaro, sob orientação de François Kahn, refletindo-se sobre a opção pela ficção.The present research is a reflection on the artistic maturity, from the experience of four European actors, all over sixty years old, who formed between the years 1960-1970, and who work in a laboratory dimension, that relates to the work on oneself. A connection between this maturity and the tensions that arise with the contemporary “rithmless” times is established. The four actors are: Iben Nagel Rasmussenen, Odin Teatret (Denmark), Beppe Chierichetti and Luigia Calcaterra, Teatro Tascabile di Bergamo (Italy) and François Kahn (France). The theme of the research is related with the scenic experiment O Cântaro (The Pitcher), performed by the researcher, from the novel A Caverna (The Cave), by José Saramago, under the guidance of François Kahn. In the first chapter, a discussion on the relationship between fiction and reality unfolds, and also on the question of the Subject as self and of self-cultivation. The concepts of artist and craftsman in Mario de Andrade, and of craftsman and well-done work, in Richard Sennett are posed. The artistic maturity by Constantin Stanislavski is highlighted, as well as the concept of flower in the various stages of the life of a nō actor, from Motokyio Zeami. Finally, the notion of presence of the actor in the contemporary scene is discussed. In the second chapter the historical contexts around Theatre Laboratories of the 1960s and 1970s in Europe, and specifically that of the groups or realities in which the actors participating in the research worked is highlighted: Odin Teatret (Denmark), Teatro Tascabile di Bergamo (Italy) and the several activities of François Kahn, from parateatro (Poland), with Jerzy Grotowski to Camera Theatre (Italy and France). The third chapter presents four proposals for the maturity of the actor in the third millennium, associated to the subjects participating in the research: Iben Nagel Rasmussen, transparency; François Kahn, silence; Beppe Chierichetti, vulnerability and Luigia Calcaterra, abandonment. The fourth chapter presents the feeling as a possible quality that guides the trajectory of the researcher and the choice of the word as the main expressive vehicle for the scene. Finally, the adaptation of the novel A Caverna (The cave), from José Saramago to the scenic experiment O Cântaro (The Pitcher), under the guidance of François Kahn, is discussed, reflecting on the option for fiction

O treinamento do ator: do corpo como instrumento ao corpo como experiência

Exportado OPUSMade available in DSpace on 2019-08-09T12:33:18Z (GMT). No. of bitstreams: 1 diserta__o_priscilla_duarte.pdf: 57056609 bytes, checksum: 97b4cc1acfd3080841d25b17db7950f9 (MD5) Previous issue date: 29Esta dissertação apresenta pesquisa sobre o treinamento do ator, seus objetivos, métodos e procedimentos, bem como suas possibilidades e limites. Seu objeto foi o treinamento em dança clássica indiana Orissi no Teatro Tascabile di Bergamo (TTB) da Itália, com a guru Aloka Panikar (Índia), e no Teatro Diadokai (Brasil), além da interface desse treinamento com o método somático GDS de cadeias musculares e articulares, na experiência profissional da pesquisadora. Realizou-se revisão bibliográfica permeada por fontes de registro de memória, por intermédio de uma seleção dos Cadernos de trabalho e Diários de viagem da autora, dos anos 1985 até 2014. O entrelaçamento de estudos teóricos do objeto com experiências vividas, possibilitou levantar as seguinte hipóteses: 1) o treinamento pode ampliar as capacidades expressivas do ator, pela superação de limites psicofísicos; 2) o treinamento pode comprometer as capacidades expressivas do ator, pela violação de limites psicofísicos; 3) aconscientização de limites e capacidades psicofísicas, por meio de métodos somáticos, pode contribuir para o treinamento do ator, proporcionando-lhe cuidado adequado de si; 4) a conscientização de limites e capacidades psicofísicas, por meio de métodos somáticos, pode desfavorecer o treinamento do ator, por cuidado desmedido de si. A partir dessas hipóteses, foi possível discutir questões como estas: qual o objetivo do treinamento do ator? O corpo é um instrumento? A que serve o treinamento em dança indiana para atores ocidentais? Quais ascontribuições dos métodos somáticos para o treinamento do ator? O corpo é experiência? Qual a diferença entre ser o corpo e usar o corpo? A busca por respostas a tais questões conduziu à definição de dois pontos de vista: o corpo como instrumento e o corpo como experiência. Os resultados da pesquisa revelaram a complexidade no estabelecimento de um equilíbrio entre esses pontos de vista, ou seja, entre arte e vida. Nas considerações finais, busca-se contribuir para a discussão sobre o treinamento, tendo em vista as perspectivas do ator como artista, e como ser humano.This dissertation presents researches about the actor's training, it's objectives, methods and procedures, just as it's possibilities and limits. It's object was the training in the Indian classical dance Orissi at the Italian Teatro Tascabile di Bergamo (TTB), along with the Indian guru Aloka Panikar and at the Brazilian Teatro Diadokai, and this trainings interface with the GDS somatic method of muscular and articular chains, in the professional experience of the researcher. A bibliographic research was made, permeated by sources of the memory's record, by way of a selection of the author's Work Notebooks and Travel Journals, from 1985 until 2014. The interweaving of the theoretical studies on the subject with real-life experiences, has given the possibility to pose the following hypothesis: 1) the training may enhance the expressive capabilities of the actor, through the overcoming of psychophysical limits; 2) the training may compromise the expressive capabilities of the actor, through the violation of psychophysical limits; 3) the awareness of psychophysical limits and capabilities, through somatic methods, may contribute to the actor's training, providing proper self-care; 4) the awareness of psychophysical limits and capabilities, through somatic methods, may not contribute to the actor's training, through excessive self-care. Coming from these hypotheses, there was a possibility to discuss such questions as: what is the objective of the actor's training? Is the body an instrument? What good is the training in Indian dance to western actors? What are the contributions of the somatic methods to the actor's training? Is the body experience? What difference is there between being the body and using the body? The quest for answers to such questions has lead to the settlement of two points of view: the body as an instrument and the body as an experience; the results of the research have revealed the complexity in the settlement of a balance between them, i.e. between art and life. The closing remarks try to contribute to the discussion about the training, bearing in mind these two perspectives: the actor as artist and the actor as human being

Iben Nagel Rasmussen: a transparência na maturidade

Propomos a qualidade da transparência como modo de leitura da herança artística que emerge do percurso da atriz Iben Nagel Rasmussen, de setenta e dois anos de idade. A noção de tempo como demora é sugerida por Han pela analogia ao aroma desprendido por um relógio de incenso chinês. Com inspiração em Stanislavski, estabelecemos a maturidade artística como paradigma para indagar o sentido das experiências acumuladas pela atriz. À luz de alguns princípios do ator Nô dos tratados de Zeami, analisamos a construção da autonomia da atriz com relação ao Odin Teatret, a criação de espetáculos de inspiração biográfica, além de seus projetos pedagógicos, em uma perspectiva de transmissão de saberes

The Dramaturgy of the Body in the Indian Theatre as a Visible Poetry

This article intends to analyze the concept of dṛśya kāvya (visible poetry) from the Indian scenic tradition, as a proposal to a dramaturgy of the body. Starting from the impact that the Asian scenic tradition caused in the European theater in the 20th century, we will examine some concepts and acting techniques from the Indian classical dance-theater (specially Orissi and Kathakali), which are based in the translation of the word into physical gesture. We also question the relevance of this discussion to a theater seeking to distance itself from a logocentric model, in an intercultural perspective

A Dramaturgia do Corpo no Teatro Indiano como Visivel Poesia

No presente artigo, discute-se o conceito de dṛśya kāvya (visivel poesia) da tradicao cenica indiana como proposta de dramaturgia do corpo. Partindo do impacto que as tradicoes cenicas asiaticas provocaram no teatro europeu no seculo XX, sao analisados alguns conceitos e tecnicas de atuacao do teatro-danca classico indiano (em particular, Orissi e Kathakali), baseadas na traducao da palavra em gesto corporal. Questiona-se tambem a relevancia dessa discussao para um teatro que busca distanciar-se de um modelo logocentrico, numa perspectiva intercultural