Karakuri Pierrot (Koma'n, Clear, Shounen T)

Koma'n - Karakuri Pierrot (Piano version)

Clear - Karakuri Pierrot

 

ShounenT - Karakuri Pierrot (Acoustic ver)

 

Lyric - Japan romaji and English

Japan

machiawase wa ni-jikan mae de
koko ni hitori sore ga kotae desho
machiyuku hito nagareru kumo
boku no koto wo azawaratteta

sore wa kantan de totemo konnan de
mitomeru koto de mae ni susumeru noni
shinjirarenakute shinjitakunakute
kimi no naka de kitto boku wa
doukeshi nan desho

Ah mawatte mawatte mawari tsukarete
Ah iki ga iki ga kireta no
sou kore ga kanashii boku no matsuro da
kimi ni tadoritsukenai mama de

boku wo nosete chikyuu wa mawaru
nani mo shiranai kao shite mawaru
ichi-byou dake kokyuu wo tomete
nani mo iezu tachisukumu boku

sore wa guuzen de soshite unmei de
shiranai hou ga ii to shitteta noni
furete shimatta no kimi no nukumori ni
sono egao de sono shigusa de
boku ga kowarete shimau kara

Ah mawatte mawatte mawari tsukarete
Ah mawatte mawatte mawari tsukarete
Ah iki ga iki ga iki ga tomaru no
Ah iki ga iki ga iki ga tomaru no

Ah kawatte kawatte kawatte yuku no ga
Ah kowai kowai dake nano
mou yameta koko de kimi wo matsu no wa
boku ga kowarete shimau dake da

Ah mawatte mawatte mawari tsukarete
Ah iki ga iki ga tomaru no
sou boku wa kimi ga nozomu piero da
kimi ga omou mama ni ayatsutte yo

English

 I stayed here all alone

As time was passing on
A simple, little date
And that is what I'll say we're on

The people close to town
The gentle, floating clouds
They share a laugh as I sit
Waiting all day long

A really simple formula
That I don't understand at all
The ticking of the clock
is rushing like my heart is going to stop
To really, truly comprehend
I have attempted, but I can't
To think that in your eyes
You really see me as
A clown to just be made fun of

Ah, as I spin
As I spin
As I spin
Until I just
Ah, can't breathe in
Can't breathe in
This is the end
Guess this is it
Sorry fate has got me hit
And now I can't go on going
Knowing you'll never see this

The Earth goes on a trip
I go along with it
An empty, thoughtless thing
I'm prone to just following
And merely for a sec
Before I lose my step
I only stand about
Without making any sound

I didn't mean for this to be
A bit of luck and suddenly
I came to find that all this time
I didn't need to see the light
Your hand is reaching out for me
Your warming touch is all I need
And just a little smile
Would make it all worthwhile
And yet they always cause a little tear in my heart

Ah, as I spin
As I spin
As I spin
Until I just
Ah, can't breathe in
Can't breathe in
Can't breathe in
I'm giving in

Ah, I can change
I will change
Here's the chance
But I don't know
Ah, I'm just scared
Unprepared
What can I do?

I'm stopping now
I have vowed
To stay here patiently but
You're the only reason
I'll never make it on my own

Ah, as I spin
As I spin
As I spin
Until I just
Ah, can't breathe in
Can't breathe in
I'm giving in

Yes, I'm the clown
I'm the joke you've always known me as, so
While I'm your puppet, would you kindly
Please play with me again

Karakuri and Pierrot History :

Karakuri ningyō (からくり人形) are mechanized puppets or automata from Japan from the 17th century to 19th century. The word karakuri means "mechanisms" or "trick". In Japanese ningyō is written as two separate characters, meaning person and shape. It may be translated as puppet, but also by doll or effigy The dolls' gestures provided a form of entertainment.
Three main types of karakuri exist. Butai karakuri (舞台からくり stage karakuri) were used in theatre. Zashiki karakuri (座敷からくり tatami room karakuri) were small and used in homes. Dashi karakuri (山車からくり festival car karakuri) were used in religious festivals, where the puppets were used to perform reenactments of traditional myths and legends.
They influenced the Noh, Kabuki and Bunraku theatre.


Pierrot (French pronunciation: [pjεʁo]) is a stock character of pantomime and Commedia dell'Arte whose origins are in the late 17th-century Italian troupe of players performing in Paris and known as the Comédie-Italienne; the name is a hypocorism of Pierre (Peter), via the suffix -ot. His character in postmodern popular culture—in poetry, fiction, the visual arts, as well as works for the stage, screen, and concert hall—is that of the sad clown, pining for love of Columbine, who usually breaks his heart and leaves him for Harlequin. Performing unmasked, with a whitened face, he wears a loose white blouse with large buttons and wide white pantaloons. Sometimes he appears with a frilled collaret and a hat, usually with a close-fitting crown and wide round brim, more rarely with a conical shape like a dunce's cap. But most frequently, since his reincarnation under Jean-Gaspard Deburau, he wears neither collar nor hat, only a black skullcap. The defining characteristic of Pierrot is his naïveté: he is seen as a fool, always the butt of pranks, yet nonetheless trusting.
It was a generally buffoonish Pierrot that held the European stage for the first two centuries of his history. And yet early signs of a respectful, even sympathetic attitude toward the character appeared in the plays of Jean-François Regnard and in the paintings of Antoine Watteau, an attitude that would deepen in the 19th century, after the Romantics claimed the figure as their own. For Jules Janin and Théophile Gautier, Pierrot was not a fool but an avatar of the post-Revolutionary People, struggling, sometimes tragically, to secure a place in the bourgeois world. And subsequent artistic/cultural movements found him equally amenable to their cause: the Decadents turned him, like themselves, into a disillusioned disciple of Schopenhauer, a foe of Woman and of callow idealism; the Symbolists saw him as a lonely fellow-sufferer, crucified upon the rood of soulful sensitivity, his only friend the distant moon; the Modernists converted him into a Whistlerian subject for canvases devoted to form and color and line. In short, Pierrot became an alter-ego of the artist, specifically of the famously alienated artist of the 19th and early 20th centuries. His physical insularity; his poignant muteness, the legacy of the great mime Deburau; his white face and costume, suggesting not only innocence but the pallor of the dead; his often frustrated pursuit of Columbine, coupled with his never-to-be vanquished unworldly naïveté—all conspired to lift him out of the circumscribed world of the Commedia dell'Arte and into the larger realm of myth. Much of that mythic quality still adheres to the "sad clown" of the postmodern era.

Source :

Karakuri
Pierrot (more information about pierrot)

MP3 Download :

Karakuri Pierrot (clear ver)
Karakuri Pierrot (koma'n ver, piano)
Karakuri Pierrot (ShounenT ver, acoustic)