“If you are bored with walking around,” Ms. Rainer added, “you can stand on the bed.” Or walk across it, without breaking stride. The same goes for “couch, table and overstuffed pieces of furniture.”

If you’re alone, there are still options. Choosing to walk solo, you might jostle a piece of furniture. You might wrap your body around that furniture or pick up and put down objects or, say, wash your hands — never too often now — all while maintaining a steady walking rhythm, which, Ms. Rainer emphasized, is “the mainstay of the whole enterprise.”

“Once you stand still, it’s over,” she said. But that’s only one option; she’s supplied another to get you out of that rut. Although the score, like much postmodern dance, doesn’t require any musical accompaniment, you can respond to noises in your environment. “You can decide on several verbal cues from the radio or TV to put yourself into motion again, like ‘virus’ or ‘pandemic.’” The high frequency of such cues should prevent extended stalling.

Avoiding boredom is one reason to have options. That was true in the Judson days too. In the original “Terrain,” the walking and standing contrasted with the more athletic and conventionally virtuosic moves of other dancers in the piece. The walking-and-standing idea was, in Ms. Rainer’s words, an “unexpected intervention,” a little “fly in the ointment.” It was a way of disrupting expectations: a core goal in all of Ms. Rainer’s work.