A problem worthy of particular attention is that of the dancer’s musical perception in their dance action. In this general framework, and particularly focusing on the instantaneous and interactive creation of electroacoustic music for scenic-corporal situations, the use of “affective computing” might be useful for observing and studying the emergence of possible perceptual consequences within the body on stage. Through practical investigation, we studied how this type of computer intelligence that relates to, emerges from or deliberately influences the world of affections provides a computer fitted with an interface expressive possibilities to affectively respond to the body on stage through music. In the search for a basic typology that could support this system, a dialogue was established with the movement analysis technique described by Rudolf Laban in order to catalogue the movements based on their expressiveness and creatively respond to them. Finally, the application of a system with these characteristics was observed in a case study that considered a reflective music-dance model and allowed observing and delving into the perception-attention-action cycle that occurs within the body on stage at the time of the corporal performance.